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COLLECTION 

OF  THE  LATE 


W.  H.  STEWART 


CATALOGUE 


OF  THE 

MODERN  MASTERPIECES 


/W 

fjLh‘3 

/[/eArviS 

VTL 


GATHERED  BY  THE  LATE  CONNOISSEUR 


William  H.  Stewart, 


TO  BE  DISPOSED  OF  AT  ABSOLUTE  PUBLIC  SALE,  BY  ORDER  OF 

HIS  EXECUTORS 

On  Thursday  and  Friday  Evenings,  February  3D  and  4TH 

BEGINNING  AT  8.  I  5  O’CLOCK  EACH  EVENING 


AT  CHICKERING  HALL 

FIFTH  AVENUE  AND  EIGHTEENTH  STREET 


L-S'SlJo 


THE  COLLECTION  WILL  BE  ON  EXHIBITION 

AT  THE  AMERICAN  ART  GALLERIES 

MADISON  SQUARE  SOUTH 

From  January  25TH  until  date  of  sale,  inclusive 


THE  SALE  WILL  BE  CONDUCTED  BY  THOMAS  E.  KIRBY 


NEW  YORK 

THE  AMERICAN  ART  ASSOCIATION,  Managers 

1898 


COPYRIGHT,  1898,  BY 

THE  AMERICAN  ART  ASSOCIATION,  NEW  YORK 
[all  rights  reserved] 


COMPILED  AND  EDITED  BY  THOMAS  E.  KIRBY 

MONOGRAPHS  BY  WESLEY  REID  DAVIS  CATALOGUE  RAISONNE  BY  ARTHUR  HOEBER 


CONDITIONS  OF  SALE 


1.  The  highest  Bidder  to  be  the  Buyer,  and  if  any  dispute  arise  between 
two  or  more  Bidders,  the  Lot  so  in  dispute  shall  be  immediately  put  up  again  and 
re-sold. 

2.  The  Purchasers  to  give  their  names  and  addresses,  and  to  pay  down  a  cash 
deposit,  or  the  whole  of  the  Purchase-money,  if  required,  in  default  of  which  the 
Lot  or  Lots  so  purchased  to  be  immediately  put  up  again  and  re-sold. 

3.  The  Lots  to  be  taken  away  at  the  Buyer’s  Expense  and  Risk  upon  the 
conclusion  of  the  Sale,  and  the  remainder  of  the  Purchase-money  to  be  absolutely 
paid,  or  otherwise  settled  for  to  the  satisfaction  of  the  Auctioneer  and  Managers, 
on  or  before  delivery  ;  in  default  of  which  the  undersigned  will  not  hold  them¬ 
selves  responsible  if  the  Lots  be  lost,  stolen,  damaged,  or  destroyed,  but  they  will 
be  left  at  the  sole  risk  of  the  Purchaser. 

4.  The  sale  of  any  Article  is  not  to  be  set  aside  on  account  of  any  error  in 
the  description,  or  imperfection.  All  articles  are  exposed  for  Public  Exhibition  one 
or  more  days,  and  are  sold  just  as  they  are,  without  recourse. 

5.  To  prevent  inaccuracy  in  delivery  and  inconvenience  in  the  settlement  of 
the  Purchases,  no  Lot  can,  on  any  account,  be  removed  during  the  Sale. 

6.  Upon  failure  to  comply  with  the  above  conditions,  the  money  deposited 
in  part  payment  shall  be  forfeited  ;  all  Lots  uncleared  within  twenty-four  hours  from 
conclusion  of  Sale  shall  be  re-sold  by  public  or  private  Sale,  without  further  notice, 
and  the  deficiency  (if  any)  attending  such  re-sale  shall  be  made  good  by  the 
defaulter  at  this  Sale,  together  with  all  charges  attending  the  same.  This  Con¬ 
dition  is  without  prejudice  to  the  right  of  the  Auctioneer  or  Managers  to  enforce 
the  contract  made  at  this  Sale,  without  such  re-sale,  if  they  think  fit. 

THE  AMERICAN  ART  ASSOCIATION, 

Managers. 

THOMAS  E.  KIRBY, 

Auctioneer. 


Digitized  by  the  Internet  Archive 
in  2020  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/catalogueofmoder00amer_1 


ORDERS  TO  PURCHASE 


The  undersigned  will  attend  to  orders  to  purchase  at  this  sale 

Messrs.  M.  Knoedler  &  Co.,  355  Fifth  Avenue 
Hermann  Schaus,  204  Fifth  Avenue 
Messrs.  Cottier  &  Co.,  3  East  Thirty-fourth  Street 
Messrs.  Boussod,  Valadon  &  Co.,  303  Fifth  Avenue 

L.  Crist  Delmonico,  166  Fifth  Avenue 

M.  Durand-Ruel,  389  Fifth  Avenue 
T.  J.  Blakeslee,  353  Fifth  Avenue 

Messrs.  Arthur  Tooth  &  Sons,  299  Fifth  Avenue 

Messrs.  Ortgies  &  Co.,  368  Filth  Avenue 

S.  P.  Avery,  Jr.,  368  Fifth  Avenue 

William  Macbeth,  237  Fifth  Avenue 

C.  W.  Kraushaar,  1257  Broadway 

Messrs.  Ainslie  Brothers,  58  Wall  Street 

M.  I.  Montaignac,  9  Rue  Caumartin,  Paris 


, 


I 


A  Few  Notes  on  the  Works  of  Fortuny  Included  in 
the  Collection  of  the  late  W*  H*  Stewart 


In  1869,  when  Fortuny  went  to  Paris,  he  took  with  him  two  half-completed 
works — “  La  Vicaria  ”  and  “  Le  Choix  du  Modele.” 

“  La  Vicaria,”  which  was  the  more  advanced  of  the  two,  was  finished  first, 
and  achieved  so  great  a  success  that  it  was  sold  for  a  sum  which  no  modern  painting 
had  ever  brought,  up  to  that  time. 

Some  years  ago  Mrs.  Cornelius  Vanderbilt  sat  to  me  for  her  portrait,  and  Mr. 
Vanderbilt  requested  me  to  try  to  obtain  “  La  Vicaria  ”  from  the  Marquise  de  Carcano 
(who  was  then  and  is  still  the  owner  of  this  masterpiece),  and  to  offer  for  it  250,000 
francs.  The  Marquise,  being  especially  fond  of  the  magnificent  picture,  did  not  wish 
to  part  with  it,  and  would  not  accept  my  offer.  Some  time  after  this,  M.  Georges  Petit 
tried  to  buy  the  picture,  but  with  no  better  success,  although  he  offered  500,000  francs. 

Mr.  Stewart  always  regretted  that  he  had  not  been  able  to  secure  this  fine 
work,  and  it  was  he  who  commissioned  Fortuny  to  paint  “  Le  Choix  du  Modele.”  A 
few  years  later  the  master  enriched  the  fine  arts  by  this  veritable  gem.  Although  the 
picture  was  finished  in  Rome,  part  of  it  was  painted  in  Paris.  1  remember  one  night 
at  the  Palais-Royal  Theatre,  where  we  were  spending  the  evening,  Fortuny,  who  was 
a  keen  observer,  was  particularly  struck  by  the  appearance  of  Lh<§ritier,  the  actor. 
Upon  his  return  home  he  bestowed  upon  the  figure  in  the  canvas — that  stands,  with 
snuff-box  in  hand,  in  the  group  that  is  looking  at  the  model — the  features  of  the 
comedian  who  had  attracted  his  attention.  This  picture  met  with  the  greatest  success. 
When  Couture  went  to  see  it  he  was  amazed,  and  in  a  very  interesting  letter  written 
to  Mr.  Stewart  made  it  the  subject  of  the  highest  praise.  He  expressed  regret  that 
Fortuny  had  not  yet  painted  a  picture  which  he  had  ordered  from  him. 

Another  very  remarkable  canvas  in  the  collection  is  a  study  of  Meissonier.  I 
cannot  pass  over  in  silence  the  following  anecdote: 

For  one  of  the  figures  in  “La  Vicaria”  Fortuny  needed  a  model  who  had  the 
characteristic  legs  of  a  horseman.  He  was  speaking  of  it  to  Meissonier,  who  said 
suddenly:  “A  horseman?  Why  .  .  .  me!”  Thus  the  great  painter  served 

Fortuny  as  a  model,  astonished  and  bewildered  at  the  same  time,  at  the  rapidity  with 
which  he  made  the  sketch.  Upon  his  return  from  Poissy  Fortuny  confided  to  me  that 


in  order  not  to  abuse  the  good  nature  of  Meissonier  he  had  not  worked  on  the  head  as 
he  would  have  liked  to,  but  contented  himself  by  completely  finishing  the  legs  ! 

Fortuny  could  not  bear  the  sight  of  death.  During  a  trip  which  we  took 
together  to  Seville,  1  found  it  impossible  to  make  him  look  at  the  ideally  perfect  head 
of  a  young  Andalusian,  whose  body,  following  the  custom  of  the  country,  was  exposed 
in  a  glass  coffin.  And  when  M.  Castillo  lost  his  daughter,  Fortuny  gave  the  deepest 
proof  of  his  affection  to  his  friend  by  painting  a  portrait  of  the  dead  girl.  Owing 
to  reverses  of  fortune,  this  portrait  found  its  way  into  the  collection  of  Mr.  Stewart. 

“  Fantasia  Arabe,”  also  to  be  found  in  the  collection,  was  the  first  picture  pur¬ 
chased  by  this  keen  connoisseur.  Then  came  “  L’Antiquaire,”  to  which  Fortuny  added 
some  finishing  touches  after  his  trip  to  Paris  in  1869.  What  was  the  surprise  of  Mr. 
Stewart,  to  perceive  in  the  background  of  the  picture  a  portrait  of  himself,  that  For¬ 
tuny  had  made  from  a  photograph.  It  is  said  that  whenever  his  friends  asked  why 
he  did  not  have  his  portrait  painted  he  would  reply  that  he  already  had  one,  an  admir¬ 
able  likeness,  painted  by  Fortuny. 

It  was  in  London  in  1871  that  Mr.  Stewart  increased  his  collection  by  buying 
“  Le  Dejeuner”  and  “  L’Arquebusier  ” — two  paintings,  in  payment  of  which  he  gave 
M.  Goupil,  in  addition  to  a  certain  sum  of  money,  a  small  portrait  of  Meissonier  on 
horseback,  painted  by  himself.  The  background  of  this  picture  was  painted  at 
Antibes. 

1  was  speaking  one  day  to  Mr.  Stewart  of  a  fine  study  of  a  negro’s  head  which 
Fortuny  had  in  his  studio  in  Rome,  and  upon  his  expressing  a  desire  to  own  it,  I 
wrote  to  Fortuny,  who  sent  it  immediately,  begging  Mr.  Stewart  to  accept  it  as  a 
token  of  his  esteem.  This  head  is  the  only  one  of  the  kind  that  the  famous  artist 
made  in  the  same  dimensions. 

After  Fortuny’s  death  Mr.  Stewart  bought — with  the  idea  that  1  would  add 
several  figures — the  unfinished  picture,  “  L’Etang  de  l’Alhambra,”  which  remained  in 
my  studio  for  some  time  without  my  being  able  to  decide  what  to  add  to  it,  finally 
coming  to  the  conclusion  that  it  was  best  to  leave  the  work  as  it  came  from  the  hand 
of  Fortuny. 

Great  was  the  enthusiasm  produced  in  Paris  by  these  water  colors,  which 
revived  and  gave  a  new  lease  of  life  to  this  style  of  painting.  It  was  then,  having 
achieved  success  in  this  line,  that  Leloir,  Vibert,  Worms  and  others,  formed  the 
Society  of  French  Water  Colorists. 

My  object  here  being  only  to  mention  a  few  incidents  which  I  believe  to  be  of 
some  interest,  I  do  not  speak  of  the  marvellous  and  original  character  of  these  water 
colors,  the  reputation  of  which  is  universally  known. 

“  La  Rue  de  Tanger  ”  is  a  water  color  which  was  presented  by  the  artist  to  Mr. 
Stewart,  who  went  all  the  way  to  Rome  expressly  to  see  him. 

“  Le  Kief,”  a  water-color  sketch  of  an  Arabian  scimeter,  was  painted  under  the 
following  circumstances  :  Fortuny  was  in  Madrid,  on  the  eve  of  starting  for  Rome. 
An  antiquary,  anxious  to  possess  one  of  the  artist’s  works,  and  knowing  the  way  to 
tempt  him,  placed  before  his  eyes  a  magnificent  sword-hilt  of  the  period  of  the  Renais¬ 
sance.  Fortuny,  with  wonderful  rapidity,  executed  the  water  color,  which  he  gave 
to  the  antiquary  in  exchange  for  the  superb  hilt  which  he  coveted. 


“  Le  Maure  de  Tanger  ”  was  sold  to  Mr.  Stewart  by  the  well-known  sculptor 
d’Epinay,  who  always  regretted  parting  with  this  water  color,  as  he  was  never  able  to 
procure  another  of  equal  importance  by  the  master. 

Another  magnificent  picture,  “  Le  Carneval,”  was  painted  in  Madrid,  and  pre¬ 
sented  to  the  director  of  the  Opera-Comique  in  acknowledgment  of  a  box  which  he 
had  graciously  placed  at  our  disposal  during  our  sojourn  of  six  months  in  Spain.  It 
passed  from  owner  to  owner,  finally  coming  to  augment  the  collection  of  Mr.  Stewart. 

A  beautiful  water  color,  representing  an  old  beggar  of  the  Roman  Campagna, 
was  exhibited  at  Durand-Ruel’s,  in  Paris.  Saintin,  the  artist,  well  known  in  New 
York,  informed  Mr.  Stewart  of  the  fact,  and  he  bought  it  at  once. 

To  finish,  1  will  add  that  at  the  sale  of  the  works  of  Fortuny,  which  was  held  in 
Paris,  I  met  a  number  of  collectors  and  distinguished  artists,  such  as  Couture,  Dumas, 
M.  d’Errazu,  etc. — all  anxious  to  obtain  a  souvenir  of  the  master. 

It  was  at  this  sale  that  Mr.  Stewart  bought  “  La  Cour  des  Cochons,”  “  L’Alberca 
de  1’ Alhambra,”  “  Le  Boucher  Arabe,”  and  “  Un  Paysage.” 

Neuville  offered  a  sum  much  too  large  for  an  artist’s  purse  for  a  sketch,  and  was 
extremely  disappointed  when  it  was  knocked  down  to  a  higher  bidder. 

The  eminent  artist,  Gerbme,  made  several  bids  for  the  “Musiciens  Arabes,”  a 
picture  which  he  was  very  anxious  to  own;  but  he  did  not  succeed;  it  remained  in 
the  possession  of  Mrs.  Fortuny,  who  wished  to  keep  it. 

Speaking  to  me  of  Fortuny,  Gerome  said  among  other  things:  “  How  well  he 
drew  !  There  was  genius  in  his  touch  !  ”  And  he  advised  his  pupils  of  the  Ecole  des 
Beaux-Arts  to  visit  the  posthumous  exhibition  of  the  great  painter. 

Mr.  Stewart  was  a  connoisseur  of  extraordinary  ability.  He  had  naturally  fine 
taste,  but  in  addition  he  trained  it  to  such  a  point  that  his  judgment  was  almost 
infallible  as  regards  work.  As  he  knew  the  artists  of  the  present  time  personally,  he 
studied  their  methods.  He  discussed  art  with  them.  He  knew  their  theories,  and 
was  thoroughly  familiar  with  all  the  various  modern  schools.  The  result  was  natur¬ 
ally  shown  in  the  paintings  he  collected,  for  they  include,  in  addition  to  the  marvellous 
Fortunys,  some  of  the  most  remarkable  examples  of  modern  art  by  famous  French, 
Spanish,  English,  German  and  Italian  painters. 


R.  de  MADRAZO. 


. 

' 


MONOGRAPHS  UPON  ARTISTS 

REPRESENTED 


. 


MONOGRAPHS 


LAURENZ  ALMA-TADEMA 


N  a  cloudless  morning,  the  eighth  of  January,  1836,  in  a  small  village  of  Dutch 


Friesland,  Alma-Tadema  saw  his  mother’s  face  and  the  sun.  His  family 
name  was  of  ancient  renown  and  is  to  be  found  among  the  archives  that  tell  of  the 
Zuyder  Zee.  The  prefix  Alma  he  received  from  his  godfather,  and  has  always  used 
it.  The  early  years  of  his  life  were  passed  under  conditions  of  frail  health  and 
strong  antagonisms  to  his  craving  to  be  an  artist.  When  physicians  finally  declared 
that  he  would  never  reach  his  majority  on  account  of  consumptive  tendencies,  he  was 
permitted  to  fill  the  brief  years  allotted  as  he  pleased.  So  soon  as  vent  was  given 
to  aspiration,  vigor  returned  and  the  disease  was  conquered.  He  studied  in  the  Gym¬ 
nasium  of  Leeuwarden,  and  entered  the  Antwerp  Academy  in  1852.  At  an  early  date 
he  acknowledged  himself  a  pupil  of  Baron  Henry  Leys.  His  first  passion  was  for  the 
Merovingian  barbarians,  whose  picturesque  forms,  massed  against  backgrounds  of 
splendid  tone,  drew  and  held  his  heart.  He  advanced  through  the  Nile  valley,  touched 
by  all  the  dreaming  memories  of  Egypt,  to  the  land  of  Pallas,  and  later  to  the 
imperial  city  of  the  Tiber.  In  1870  he  fixed  his  residence  in  London.  Although  a 
quarter  of  a  century  has  passed  since  he  received  letters  of  naturalization  from  his 
Queen,  although  England  knows  no  more  loyal  son,  he  has  really  never  ceased  to  be 
a  citizen  of  Athens  and  Rome.  From  the  start  his  sympathies  were  with  the 
civilizations  and  peculiar  traits  of  Latin  and  Hellenic  races.  The  production  that 
challenged  wide  interest  and  unlatched  for  him  the  gate  to  a  triumphant  career 
was  “  Queen  Clotilda,  Wife  of  Clovis,  First  Christian  King  of  France,  Instructing  her 
Children  in  Arms.”  This  painting  was  secured  by  the  Antwerp  Society  for  the 
Encouragement  of  Fine  Arts,  from  whom  it  was  purchased  by  the  King  of  the 
Belgians.  At  the  dispersion  of  his  majesty’s  collection  it  was  brought  to  the  United 


States.  Here  is  shown  that  clearness  of  historical  detail,  that  archaeological  pre¬ 
cision,  which  made  his  after  themes  at  once  the  delight  and  instruction  of  the 
world.  Tadema  holds  the  radical  conviction  that  there  is  closest  kinship  between 
art  and  history.  Modes  of  life,  national  customs,  characteristics — in  fine,  all  that 
enters  into  and  colors  the  personality  of  a  people  belongs  to  the  gift  of  the  artist. 
His  realism  he  took  from  the  soil  of  Holland,  where  the  very  earth  was  won  from 
the  hungry  sea.  Carlyle  has  said  that  “for  grown  persons  the  only  genuine 
romance  is  reality.”  This  reality  is  not  the  crude  actual,  but  that  actual  trans¬ 
figured  by  the  light  of  the  higher  truth  and  knowledge  which  are  in  the  seeing 
mind.  Tadema  introduces  us  to  life  as  life  throbbed  in  breasts  and  flushed  in 
faces  two  thousand  years  ago.  He  paints  it  contented  to  be  human.  The  logic 
of  his  work  is  based  upon  worthy  uses  of  noble  bodies  ;  hence  there  is  no  disdain 
of  the  mortal,  as  though  the  immortal  were  fouled  by  its  shrine  of  flesh.  He  is 
real  and  radiant  in  the  values  of  his  figure-work.  Undraped  parts  are  pure,  quiver¬ 
ing  to  the  tune  of  health.  He  is  utterly  free  from  any  influence  of  the  Romanticists 
of  the  early  Italian  schools,  who,  being  shut  up  to  legendary  or  religious  subjects,  often 
strain  against  fetters  of  dust  and  wrestle  to  liberate  their  saints  from  ill-conditioned, 
emaciated  forms,  that  they  might  float  into  mystical  hereafters.  Upon  the  tower- 
front  of  a  cathedral  in  northern  Europe  there  is  an  ancient  clock  that  sends  out  a 
different  figure  with  each  hour  it  strikes.  At  dawn  St.  Peter  emerges  with  his  warn¬ 
ing  bird,  at  noon  Sol  appears  bearing  a  golden'  hammer,  at  eventide  a  nun  in  white 
and  grey,  ringing  a  silver  bell.  Should  the  spiders  weave  a  veil  over  the  dial-plate,  or 
the  striking  mechanism  fail  through  rust,  the  toilers  on  their  way  to  and  fro  would 
still  know  the  time  of  day,  so  long  as  the  figures  came  out  with  regularity  on  the 
platform  above  and  went  in  at  their  folding-doors.  Imagine  a  dire  conjunction 
of  circumstances  through  which  the  records  of  Greek  and  Roman  history  were 
destroyed,  a  faithful  recognition  of  those  periods  of  the  world’s  march  would  be 
possible  from  the  creations  of  Tadema’s  brain  ;  so  deeply  has  he  been  saturated  with 
their  atmosphere,  so  thoughtfully  has  he  revealed  their  daily  goings,  so  steadily  has 
he  sought,  so  surely  has  he  found  their  very  selves.  We  should  still  see  Rome 
and  Athens.  We  could  be  present  at  public  games,  attend  the  forum,  worship  in 
the  temple,  press  through  marts  of  trade,  share  vintage  festivals,  whir)  in  Pyrrhic 
dances,  behold  the  pride  of  Phidias  discoursing  to  his  friends  on  the  friezes  of  the 
Acropolis,  enter  the  ateliers  of  artists,  attend  upon  Agrippa  giving  audience  to  his 
clients,  follow  the  “  Tarquinius  Superbus”  while  he  knocks  off  the  heads  of  the 
tallest  poppies  in  his  garden,  listen  to  the  Praetorians  proclaiming  as  Emperor  the 
weak-souled  Claudius,  who,  bleached  with  fear,  hides  behind  his  curtain.  Finally 
we  stand  before  Tadema’s  latest  revelation — “The  Coliseum” — where 

“  The  buzz  of  eager  nations  ran 
In  murmur’d  pity- or  loud  roar'd  applause.” 


The  renown  of  this  artist  is  like  the  sceptre-sweep  of  his  Queen  ;  for  him  it  is 
■day  round  the  world.  Decorations  have  flushed  his  breast,  yet  their  weight  and 
wealth  have  left  him  unhindered  and  severely  simple  in  his  aims.  He  remains  his 
own  sternest  censor.  He  is  swift  with  his  brush,  but  conscientious  care  tarries  long, 
not  unfrequently  effacing  weeks  of  painstaking  labor. 

Tadema,  following  the  example  of  the  great  composers,  who  numbered  their 
works  in  the  order  of  their  production,  passed  “Opus  300”  some  time  since.  This 
method  gives  to  the  connoisseur  the  chronological  evolution  of  his  genius,  an  intelli¬ 
gent  series  of  mind-marks  whereby  to  trace  the  glowing  tread  of  this  stanch  Lover 


of  Truth. 


SANTIAGO  ARCOS 


SHARPER  antithesis  could  scarcely  be  imagined  than  that  which  chances,  in 


1  v  the  order  of  this  catalogue,  to  place  together  the  names  of  Alma-Tadema 
and  Santiago  Arcos.  The  single  subjects  represented  by  each  likewise  form  a 
vivid  contrast. 

Tadema  shows  us  a  classic  gentleman  reading  his  Horace.  Arcos  puts  on 
his  canvas  “A  Sleeping  Fool.”  Each  man  has  touched  a  characteristic  note  in 
the  loyal  fashion  of  handling  his  theme. 

Arcos  was  born  in  Santiago,  Chili.  He  studied  under  Raymundo  de  Madrazo 
and  Leon  Bonnat.  His  first  exhibition  was  in  1873,  a  painting  of  large  dimen¬ 
sions,  “  The  Elopement  of  Chloris.”  Subsequently  he  followed  the  seasons  of 
the  Salon,  chiefly  sending  portraits.  At  Madrid  he  received  a  medal  for  his  “Philip 
the  Second  of  the  Escurial.”  This  was  sold  to  his  majesty  the  King,  Alphonse  of 
Spain.  It  is  now  in  an  apartment  of  the  royal  palace.  Special  note  should  be 
made  of  his  water  color  in  the  Stewart  collection.  Arcos  had  under  way  studies 
of  a  number  of  figures  for  “The  Court  of  Henry  III.”;  among  these  a  buffoon. 
The  model  who  posed  for  such  a  person  one  day  arrived  in  a  complete  state 
of  inebriety.  Having  donned  his  costume,  he  fell  asleep  upon  a  table.  At  that 
moment  Mr.  Stewart  entered  the  studio,  because  he  was  fond  of  following  the 
work  of  the  younger  artists  and  liked  to  encourage  them.  With  his  usual  good 
humor,  seeing  the  sleeper,  he  exclaimed  :  “  He  is  perfect  like  this  ;  make  a  water 
color  of  him.”  In  effect  the  larger  part  of  the  figure  was  painted  during  the  model’s 
slumber. 


PAUL  BAUDRY 


HE  name  of  this  artist  has  large  and  luminous  exploitation  in  the  foyer  of  the 


1  Grand  Opera  House  of  Paris,  the  walls  of  which  he  painted  between  the  years 
1866  and  1874.  There  was  an  enforced  hiatus  on  account  of  the  Franco-Prussian 
war.  This  series  of  compositions  vividly  recalls  that  period  of  Renaissance  frescoes 
which  made  glorious  the  palaces  of  Venice.  The  boldness  of  the  designs,  the  poise 
of  their  treatment,  fraught  with  a  harmony  of  coloration  unsurpassed,  turn  these  five 
hundred  square  meters  into  fields  of  immortal  legend.  The  beginnings  of  such  a 
man  have  a  peculiar  charm.  His  father,  a  peasant  of  sturdy  life,  early  took  him  on 
long  walks,  which  generated  a  love  of  nature.  He  never  lost  the  clear-eyed  vision 
born  through  these  journeys.  The  pedantry  of  teachers,  the  mechanical  methods 
of  conventional  schools  could  not  cloud  it.  Wherever  his  touch  falls  there  is  the 
positive  accent  of  form  and  the  articulation  of  life.  His  portraits  group  easily  with 
the  finest  of  the  modern  school.  He  has  succeeded  in  varying  his  backgrounds  as 
no  other  artist.  His  faces  are  histories.  The  most  notable  are  :  “  Baron  Jard  de 
Panvillier,”  “Count  Foucher  de  Careil,”  “  M.  Guizot,”  “  Mme.  Bernstein  and  her 
Son,”  “  Ambroise  Bpudry,”  “  M.  About,”  “Charles  Gamier,”  “Mme.  Cezard,  of 
Nantes,”  “Mile.  Deniere,”  and  “General  Count  Palikao  ”  in  a  landscape  of  battle. 
His  “  Vision  of  St.  Hubert,”  to  be  seen  on  the  chimney  front  of  the  grand  salon  in  the 
Chateau  of  Chantilly,  astonished  the  critics.  Of  this  Charles  Ephrussi  says  :  “Some 
have  determined  to  see  in  it  a  learned  whimsicalness,  others  a  challenge  to  sanctioned 
and  necessary  traditions  of  composition.  They  were  accustomed  to  the  everlasting 
patron  of  huntsmen  piously  kneeling  before  the  miraculous  cross.  Here,  in  a  wintry 
landscape  lit  up  by  sunlight  without  shadows,  we  find  him  under  the  features  of 
the  Duke  de  Chartres,  like  a  primitive  Capet,  dressed  in  the  Byzantine  style,  seen 
suddenly  arrested,  in  all  the  ardor  of  desperate  pursuit,  before  the  white  and  lumi¬ 
nous  stag,  erect  on  the  summit  of  the  hills,  raising  its  head  to  the  sky.  In  an 
assembly  of  figures,  animals,  forest  trees,  and  hunting  implements  of  singular  but 
scrupulous  archaeology,  a  page,  under  the  sympathetic  features  of  the  young  Duke 
d’Orleans,  holds  a  horse,  whilst  the  pack  of  hounds  are  restless,  not  petrified  by 
the  miraculous  apparition,  but  yelping  and  howling.”  He  sent  to  the  Salon  of  1883 
three  pictures  that  have  since  become  permanent  pleasures  to  the  popular  heart — 
“  La  Verita,”  “Eve,”  “The  Virgin,  Jesus,  and  Saint  John.”  In  the  first  exhibition 


of  the  Rue  de  Seze  appeared  “The  Wave  and  the  Pearl."  A  blue  billow  crested 
with  foam  has  tossed  upon  the  sand  a  nude  figure  of  a  beautiful  maiden,  who  is 
lying  on  her  side,  with  her  back  to  the  spectator,  and  turning  her  face  with  wondering 
eyes  to  look  and  smile  at  the  world.  This  child  of  the  sea,  Hung  from  a  wave’s 
bosom,  lies  on  the  sunny  beach,  in  the  midst  of  mosses  and  tinted  shells,  an 
incarnate,  stainless  joy. 

Baudry  was  born  at  La  Roche-sur- Yon- Vendee,  November  7,  1828  ;  was  the 
pupil  at  La  Roche  of  Sartoris  and  in  Paris  of  Drolling.  He  won  the  Grand  Prix 
de  Rome  in  1850  by  his  “  Zenobia  Discovered  on  the  Banks  of  the  Araxes.” 
Exhibited  in  Salon  1857.  Medals  :  first  class,  1857,  1861-1881  ;  Legion  of  Honor, 
1861  ;  Officer,  1869  ;  Commander,  1875  ;  Member  of  Institute,  1870.  His  rank 
is  not  only  among  the  lordly  masters  of  the  sixteenth  century,  in  that  golden  age 
of  decorative  art,  but  is  assured  in  the  midst  of  those  immortals  who  have  made 
resplendent  the  closing  years  of  the  nineteenth.  M.  Paul  Baudry  died  at  Paris, 
January  17,  1886,  from  a  stroke  of  apoplexy. 


JOSEPH  LOUIS  HIPPOLYTE  BELLANGE 

BORN  in  Paris  February  16,  1800,  and  died  there  April  10,  1866.  He  was  a 
pupil  of  Gros  and  the  Ecole  des  Beaux  Arts.  He  exhibited  in  every  Salon 
from  1822  to  1866,  and  was  decorated  with  medals:  second  class,  in  1824  and 
1855  ;  Legion  of  Honor,  1834  ;  Officer,  1861.  He  was  Director  of  the  Rouen 
Museum  1837  to  1854.  His  work  took  expression  in  genre  and  historical 

subjects.  Horace  Vernet  was  really  his  master,  that  great  national  painter  who 
voiced  with  such  dramatic  clearness  the  common  taste  and  mind  of  France  as 
to  be  called  “  the  artist  of  the  multitude.”  Bellange  marks  a  transition  from 
unreal  battle  pieces  to  simple  episodic  painting  ;  a  free  camp  life  and  valorous 
deeds  are  his  special  charm.  He  tells  his  story  of  events  with  graphic  truth  and 
directness.  In  the  galleries  at  Versailles  he  is  represented  by  the  battles  of 
Wagram,  Loano,  and  Altenkirche  (1837-39),  with  an  incident  from  the  retreat 
from  Russia  (1851).  At  the  Leipsic  Museum  he  has  four  pictures.  His  last  and 
finest  effort  was  “The  Guard  Dies,  but  does  not  Surrender.”  The  “Combat  in 
the  Streets  of  Magenta”  and  “The  Cuirassiers  at  Waterloo”  were  approximations 
to  Vernet’s  best  work. 


JOSE  BENLLIURE 


HIS  artist  stands  in  the  forefront  of  the  Spanish  colony  at  Rome,  combining  in 


1  himself  the  gifts  of  sculptor  and  painter.  These  are  so  evenly  poised  that  it 
is  a  problem  to  decide  in  which  field  he  excels  ;  chisel  and  brush  alike  are  wielded 
with  equal  success.  He  was  born  in  Valencia  in  1858.  As  a  pupil  of  Domingo  his 
talents  matured  early.  He  secured  first  honors  in  every  competition,  being  gold 
medalist  at  Madrid,  Dresden,  and  Berlin.  He  is  one  of  the  select  circle  pensioned  by 
the  Spanish  government  for  residence  in  Italy,  and  has  executed  state  orders  for  the 
decoration  of  public  buildings. 


GIOVANNI  BOLDINI 


AR1ANO  FORTUNY,  under  date  of  February  20,  1874,  writes  from  Italy  to 


his  friend  Mons.  W.  H.  Stewart  in  Paris:  “Don’t  fail  to  send  me  photo¬ 
graphs  of  something  good,  for  at  Rome  we  are  in  the  dark.  Here  they  see 
nothing,  they  know  nothing.  I  would  also  much  like  to  see  something  by 
Boldini.  Judging  from  what  little  I  have  seen,  he  knows  what  he  is  about.” 
These  two  men  were  destined  to  develop  a  decided  kinship  in  the  character  of 
the  works  produced  by  each,  and  many  have  deemed  Boldini  the  only  artist 
worthy  to  wear  Fortuny’s  mantle.  He  was  born  at  Ferrara,  Italy,  1845,  the  son 
of  a  painter  of  saints.  From  Ferrara  he  went  to  Florence,  where  he  remained 
six  years.  His  first  productions  revealed  scientific  insight  and  skilled  technique. 
Since  1872  he  has  lived  in  Paris,  a  pronounced  type,  of  whom  Paris  is  proud. 
The  Spanish  dash  and  swing  of  motive  may  be  seen  in  much  of  his  work.  He 
is  a  serene  optimist,  in  love  with  the  warmth  and  glow  of  life.  After  Paris  the 
larger  number  of  his  patrons  may  be  found  in  America,  where  he  has  received 
generous  recognition.  One  who  has  known  him  closely  and  well,  defines  his 
artistic  personality  in  these  terms  :  “  A  lover  of  sunlight  and  all  the  gayety  and 
brilliancy  of  nature  it  involves,  his  first  real  successes  were  made  with  pictures 


in  which  he  could  give  his  taste  in  this  direction  fullest  play.  He  possessed,  in 
a  rare  degree,  the  faculty  of  feeling  light  as  well  as  seeing  it,  and  of  painting  it 
as  he  felt  it,  so  that  his  sentiment  might  reach  the  spectator  too.  His  painting 
of  the  figure,  like  that  of  the  landscapes  in  which  he  was  most  fond  of  setting 
his  groups  up,  was  of  an  exquisite  quality  of  color  and  ease  of  handling,  and  in 
the  treatment  of  interiors  his  keen  eye  and  accurate  hand  achieved  equally  felicitous 
results,  always  without  the  burdensome  appearance  of  labor,  from  which  mere 
superficial  finish  in  art  must  suffer.  No  artist  of  his  nation  and  century  has, 
perhaps,  come  nearer  to  reviving  in  our  day  the  essential  elegance  of  art  in 
France  in  the  last  century,  when  the  broad  path  to  the  destruction  of  dynasties 
in  a  gulf  of  blood  was  made  beautiful  by  the  utmost  refinement  of  genius  with 
pen  and  brush.” 

As  a  painter  of  portraits,  Boldini  commands  the  noblest  constituency.  Among 
these  that  of  Verdi  is  perhaps  most  eminently  characteristic.  On  this  work  the  art- 
writer  Royal  Cortissoz  comments  : 

“Drawn  from  the  life  in  a  few  hours,  it  has' all  of  Boldini’s  best  qualities 
concentrated  and  intensified.  Nervous,  dispassionate,  scorning  idealization,  and 
rendering  with  the  keenest  precision  every  trait  revealed  by  the  composer's  physiog¬ 
nomy,  it  has  the  vividness  of  life  with  a  distinction  that  only  art  can  give  to  life. 
The  style  of  the  portrait,  the  technical  brilliancy,  the  fire  and  force,  are  incomparable. 
There  is  no  portrait  painter  living  who  could  help  envying  Boldini  the  grasp  and 
authority  expressed  in  this  work.  It  is  a  model  of  splendid  workmanship  splendidly 
applied.” 


l£on  bonnat 


EON  BONNAT  was  born  at  Bayonne,  France,  in  1833.  When  he  was  fourteen 


' 4  years  old  he  sought  Federico  de  Madrazo  and  solicited  the  honor  of  being 
among  his  pupils.  This  master  admonished  him  of  the  arduous  way  and  multiplied 
defeats  confronting  a  young  artist.  Bonnat  responded  :  “So  be  it,  but  I  want  to  be 
a  painter.”  He  entered  upon  his  career  with  ardor  and  patience.  Not  content  with 
his  conventional  routine  in  the  atelier,  he  commenced  studies  in  the  fields.  One  day 
he  exhibited  to  Madrazo  a  picture  he  had  painted  secretly.  The  master  was  sur¬ 
prised  and  fascinated.  Cordially  embracing  him,  he  said  :  “You,  my  boy,  will  make 
your  way.”  He  was  recalled  from  Madrid  to  Paris  by  a  death  in  his  family.  In  Paris 
he  placed  himself  under  the  tuition  of  Leon  Cogniet,  who  was  wise  enough  to  leave 
uncurbed  his  natural  bent.  In  1837  the  citizens  of  Bayonne  furnished  funds  for  his 


residence  in  Rome,  where  he  tarried  four  years.  His  first  successes  were  with  small 
Italian  pictures  of  unusual  charm.  These  preluded  his  religious  themes,  in  which 
he  has  won  wide  renown.  He  commanded  attention  by  his  “  Adam  and  Eve  Find¬ 
ing  the  Body  of  Abel,”  which  was  bought  for  the  gallery  at  Lille.  In  1869  his 
“Assumption  of  the  Virgin”  gained  universal  praise,  and  determined  his  drift  to 
themes  of  similar  character.  His  years  at  Madrid  had  opened  on  his  heart  the  dim 
spiritual  majesty  of  the  old  cathedrals,  where  he  was  unconsciously  trained  for  this 
vocation.  It  has  been  said  that  the  Scriptures  have  found  in  him  a  naturalistic  com¬ 
mentator.  He  has  been  reproached  with  realism  because  of  the  scientific  precision 
of  his  methods.  This  charge  is  logically  true  and  openly  a  commendation  of  his 
work.  His  “Jacob  Wrestling  with  the  Angel”  and  “Christ”  are  the  output  of  the 
world’s  longing  to-day  for  truth,  and  lose  nothing,  but  rather  gain  immeasurably,  on 
account  of  taking  such  substance  and  form  as  the  humanity  of  the  present  tense  can 
grasp  and  hold.  “In  him,”  says  M.  Gautier,  “the  historical  painter  differs  totally 
from  the  genre  painter.  As  the  genre  painter  showed  himself  fine  and  delicate,  in 
the  same  degree  the  historical  painter  shows  himself  vigorous  and  strong.”  He  has 
treated  portraits  with  undisputed  superiority,  giving  us  a  series  of  faces  that  must 
form  a  precious  gallery  for  posterity.  Here  will  be  found  such  distinguished  person¬ 
ages  as  “Thiers,”  Salon  of  1877  ;  “The  Count  Montalivet,”  Salon  of  1878  ;  “Victor 
Hugo,”  Salon  of  1879;  “  M.  Grevy,”  Salon  of  1880;  “Leon  Cogniet,”  his  second 
master,  Salon  of  1881  ;  “  Puvis  de  Chavannes,”  Salon  of  1882  ;  “Mr.  Levi  P.  Morton,” 
Minister  Plenipotentiary  of  the  United  States,  Salon,  1883.  Bergerat’s  Critique  upon 
his  portrait  of  Victor  Hugo  says  :  “  I  do  not  know  how  any  other  painter  than  Bonnat 
would  have  come  off  from  the  severe  and  powerful  theme  that  the  august  visage  of 
the  greatest  poet  of  modern  times  offers.  Here  are  no  seductive  accessories,  no  bril¬ 
liant  stuffs,  nothing  that  could  lighten  the  agony  of  an  artist’s  soul,  face  to  face  with 
tangible,  visible  genius.  Bonnat  was  sufficiently  strong  to  undertake  such  a  task, 
but  what  a  stake  he  played  for  !  for  this  time  it  was  not  before  the  public,  but  before 
immortality  that  he  placed  his  easel.  In  art  Bonnat  is  intrepid  ;  he  accepted  his  work 
in  its  formidable  simplicity.  Victor  Hugo  in  a  black  frock  coat,  seated  in  an  arm¬ 
chair,  looking  steadily  in  front  of  him.  Those  who  have  had  the  not-to-be-forgotten 
honor  of  being  admitted  to  the  poet's  intimacy  well  know  that  black,  profound 
glance  that  shines  inwardly.  It  is  the  look  of  him  who  sees  beyond  the  present. 
How  Leon  Bonnat  has  seized  it  I  do  not  know,  but  it  will  be  an  eternal  glory  to  him. 
What  eulogy  can  one  address  to  the  artist  who  has  been  able  to  remain  a  master 
before  such  a  master  ?  ” 

His  portrait  by  himself  reproduces  his  bronzed  virile  face  with  the  flaming 
glance  that  astonished  Federico  Madrazo  and  that  sparkles  brighter  than  ever  under 
the  shade  of  his  arched  eyebrows.  His  honors  have  had  significant  progression — 
second  Grand  Prix  de  Rome,  1838  ;  medal  of  honor,  1869  ;  medals  :  second  class, 


1 86 1— ’63,  ’69  ;  Legion  of  Honor,  1867  ;  Officer,  1874  ;  Commander,  1882  ;  Member 
of  Institute  of  France  and  Knight  of  the  Order  of  Leopold.  His  portraitures  of 
women  and  children  are  full  of  truthful  sentiment  and  delicate  observation.  They 
are  well  within  the  realm  of  the  beautiful  without  falling  to  the  level  of  prettiness. 

Leon  Bonnat  stands  for  the  conjunction  between  French  modern  painting  and 
the  old  Spanish  schools.  He  has  poured  the  fresh  blood  of  naturalism  into  the  one, 
and  a  serene  reserve,  a  chastened  passion,  into  the  other. 


RICHARD  PARKES  BONINGTON 


LTHOUGH  English  by  parentage  and  birth,  Richard  Parkes  Bonington  is 


1  v  claimed  by  France.  He  was  born  in  the  village  of  Arnold,  near  Nottingham, 
on  the  25th  of  October,  1801,  and  died  in  London  September  23,  1828.  His 
father  was  an  artist  of  moderate  equipment,  doing  reasonable  things  in  portraiture 
and  landscape.  Having  exhausted  his  resources  in  England,  he  took  his  family 
to  Paris,  where  his  son  studied  in  the  Louvre,  and  later  under  the  guidance  of 
Baron  Gros.  Eugene  Delacroix,  swift  always  to  recognize  young  men  of  mark, 
gave  him  fellowship  and  unqualified  praise.  His  water  colors  sold  rapidly,  showing- 
landscape  and  river  views,  especially  exploiting  the  Seine  and  street  scenes  in  the 
older  sections  of  Paris.  His  figure-work  was  fine,  and  when  introduced  into  his 
themes  gave  increased  force.  He  won  the  gold  medal  of  1824,  and  shortly  after 
visited  Italy,  where  he  executed  elaborate  Venetian  studies.  It  was  in  the  exhi¬ 
bition  of  these  that  his  wider  reputation  was  made.  It  was  a  sorrow  to  Bonington 
that  England  remained  so  long  ignorant  of  her  son-.  Two  years  before  his  decease 
recognition  came  through  the  exhibition  of  two  of  his  pictures  in  London,  when 
he  was  favorably  mentioned  as  “an  unknown  but  promising  artist.”  It  was  some¬ 
what  of  a  comfort  that  for  ten  years  Parisians  had  literally  contended  for  the 
privilege  of  purchasing  from  his  easel.  The  seal  of  death  was  set  on  him  by  the 
hot  sun  while  painting  out-of-doors.  He  caught  a  fever  which  developed  into 
hasty  consumption.  He  sought  medical  skill  and  rest  in  England,  but  his  splendid 
physique  had  been  undermined,  and  he  passed  hence,  in  the  home  of  a  friend, 
after  a  confining  illness  of  three  weeks.  Sir  Thomas  Lawrence,  writing  of  Boning¬ 
ton’s  demise,  said  :  “I  have  never  known  in  my  own  time  an  early  death  of 
talent  so  promising,  so  rapidly  and  obviously  improving.”  Bonington  produced 
a  number  of  lithographs,  which  are  to-day  greatly  treasured  by  collectors.  His 
painting,  “  Francois  et  la  Duchesse  d'Etampes,”  is  in  the  Louvre. 


LfiON  BONVIN 


S  the  poet  in  the  realm  of  words  is  the  real  and  complete  artist  ;  as  his  metrical 


setting  enables  him  to  show  a  part  as  well  as  a  whole,  to  make  perfect  the 
smallest  thing,  to  give  beauty  and  immortality  to  an  emotion,  an  image, 


“  As  when  the  dawn  glows  o’er  the  glowing  deep, 

And  sea  and  sky  are  but  asunder  as  a  two-leaved  book 
All  of  one  story,” 


which  may  not  be  expanded  beyond  the  dozen  lines  of  a  sonnet — so  Bonvin  has,  in 
contrast  to  the  prosing  artists  of  his  time,  caught  the  sonnet  spirit  for  his  themes. 
This  is  the  more  marvelous  when  we  recall  that  he  had  no  quiet  retreat  or  chosen 
tower  in  which  to  open  his  note-book,  but  kept  a  wayside  inn.  He  had  only  the 
chill  hours  of  the  morning  or  the  weary  ones  of  the  night,  when,  for  a  brief  space, 
he  was  free  from  the  bitter  railings  of  a  wife  (who  faithfully  misunderstood  him),  in 
which  to  make  his  studies  and  paint  his  water  colors. 

He  was  born  at  Vaugirard,  within  the  environs  of  Paris,  on  February  28,  1834. 
His  father  had  been  in  turn  a  servant,  a  barber,  a  soldier,  and  a  gendarme.  His  last 
avocation  was  that  of  a  rural  policeman,  with  the  privilege  of  selling  drink.  The  old 
man,  it  is  said,  though  virtuous,  was  ferociously  selfish.  He  would  not  allow  his 
sons  to  be  apprenticed  to  a  trade,  but  kept  them  home  to  act  as  waiters.  Leon,  the 
youngest  of  four  brothers,  was  buffeted  from  childhood.  He  was  large-boned,  of 
heavy  build,  awkward,  and  apparently  clumsy-handed.  Beneath  this  coarse  vesture 
there  were  fibres  as  delicate  as  those  of  a  sensitive  child,  nerve-lines  that  trembled 
in  the  breath  of  flowers,  tuneful  chords  more  easily  touched  than  those  of  an  /Eolian 
harp.  He  devoted  himself  to  water  colors.  His  brother  Francois,  who  early  ran 
away  from  home  to  become,  in  due  time,  a  painter  of  pronounced  power,  saw  in 
his  rough  chrysalis  the  folded  wings,  and  sent  him  to  the  school  in  the  Rue  de  l’Ecole 
de  Medicine,  founded  in  the  eighteenth  century  by  Bachelier.  In  1861  he  married, 
and  was  thereafter  perpetually  reminded  of  the  harness  he  had  put  on.  Through 
pictures  painted  by  him  we  are  familiar  with  the  interior  of  his  house,  which  had 
been  built  out  of  materials  given  him  by  contractors  in  part  payment  for  his  keep¬ 
ing  of  their  accounts,  on  the  day  when  they  came  to  eat  at  his  tavern  and  to  settle 
with  their  factors.  He  had  learned  music  from  an  old  German  who  lived  near  by, 


and  played  with  discriminating  taste.  Beethoven  was  his  favorite  ;  Gluck  often 
relieved  his  silence  and  sorrow.  There  was  a  room  just  above  the  bar,  where  he 
had  placed  a  harmonium,  bought  after  years  of  patient  saving  of  small  sums  paid 
him  as  pourboires.  His  wife,  an  ignorant,  scoffing  creature,  would  suddenly  rush 
up  the  stairs,  tap  him  on  the  shoulder,  and  say  :  “  Leon,  you  are  boring  the  people 
down  below  with  your  gloomy  church  music.  Play  them  something  gay.”  He 
would  respond  by  melodies  which  the  street  organs  had  brought  into  fashion,  and 
thus  lose  the  enchantment  of  his  heart  under  the  spell  of  the  great  tone  masters. 
He  was  in  the  habit  of  painting  early  in  the  day,  before  customers  arrived  for  their 
draught  of  white  wine.  At  night  he  would  work  under  the  light  of  a  lamp 
inclosed  in  a  box,  which  flung  a  broad  radiation  upon  the  flowers  which  he  had 
gathered.  In  a  thoughtful  review  of  his  individuality  as  an  artist  another  has  said  : 

“Those  who  have  tried  with  sincerity  to  paint  flowers  in  the  open  air  have  felt 
how  difficult  it  is  to  combine  accessories  with  them  ;  either  their  brilliancy  must  be 
subordinated  to  the  landscape,  or  the  landscape  must  be  sacrified.  Leon  Bonvin  has 
succeeded  in  accomplishing  the  alliance  with  a  talent  all  the  more  sure  because  it  is 
simple  and  without  artifice.  Here  we  have  a  family  of  goldfinches  that  have  alighted 
on  the  dry  branches  of  some  thistles  and  wild  aniseed  ;  the  vermilion  of  their  beaks, 
the  black  of  their  cowls,  the  chrome  of  their  wings,  animate  with  sparks  of  brightness 
the  opal  gray  of  the  fog  through  which  the  sun  is  penetrating.  There  we  have  a 
chrysanthemum  which  has  grown  up  vigorously  on  a  heap  of  rubbish,  and  glories 
in  its  starry  flowers  with  their  sulphur-yellow  centres,  while  in  the  successive  planes 
of  the  morning  mist  one  sees  a  man  digging,  the  profiles  of  the  edge  of  a  village  and 
of  the  church  steeples.  (See  the  aquarelle  entitled  ‘The  Market-Garden.’)  Here, 
again,  is  a  fuller's  thistle  with  its  silhouette  of  threatening  prickles,  .some  wild  carrots, 
and  grasses  shooting  up  in  tender  tubes  ;  their  outlines  strike  across  a  sky  of  light, 
drifting  vapors  ;  the  light  of  the  horizon  is  broken  by  the  glacis  of  the  fort  of  Issy, 
and  by  the  outstretched  arms  of  a  windmill.  Another  water  color  is  an  evening 
effect  of  boundless  melancholy.  We  might  believe  ourselves  in  a  cemetery  assisting 
at  some  tragic  and  distant  conflagration  which  is  flinging  its  sad  smoke  in  the  air. 
Through  the  knolled  branches,  which  are  losing  their  leaves,  a  woman  is  seen  pass¬ 
ing,  bent  beneath  a  burden,  and  hastening  toward  a  cold-looking  and  cheerless 
dwelling-house.” 

These  four  water  colors  belong  to  the  collection  of  the  late  Mr.  W.  T.  Walters, 
of  Baltimore,  who  bought  them  of  the  artist.  Mr.  Walters  possessed  more  than  fifty 
examples  of  Bonvin’s  genius.  Twenty  are  landscapes  combined  with  flowers,  ten 
are  landscapes  alone,  fifteen  are  subjects  of  flowers,  and  ten  are  studies  of  fruit.  He 
could  image  an  apple  bough  in  blossom  so  freshly  that  its  perfume  would  seem  to 
fill  the  nostrils.  Bonvin  had  no  interest  for  plants  that  were  prisoners  ;  hothouse 
growths  were  without  a  voice  to  him.  When  asked  by  Mr.  Walters  whether  he 


had  not  a  desire  to  paint  cultivated  flowers  he  answered  :  “Do  not  ask  me  to  do 
these  ;  my  heart  is  not  in  them.”  A  half-witted  daisy  by  the  roadside  lifted  a  friendly 
face  to  his  own,  while  the  grasses  and  gorse  of  the  fields  were  for  him  the  motives 
and  messengers  of  Heaven's  kindness  to  earth.  It  was  pitiful  beyond  words  that  this 
rare-natured  man  was  left  to  fight  in  solitude  his  hard  battle  with  misery  and  want. 
Friends  have  since  read  in  his  work  premonitions  of  the  hopeless  struggle  and  blind 
despair.  “  I  have  seen  in  the  collection  of  Mr.  Lucas,”  writes  one,  “a  picture  which 
answers  to  the  impressions  of  his  aching  soul  :  beyond  a  foreground  of  buttercups, 
wild  roses,  and  brambles  stretch  a  landscape  darkened  by  the  approach  of  a  storm  ; 
some  fields,  where  a  few  stunted  trees  are  growing  ;  a  pool  of  water,  in  which  is 
reflected  a  bit  of  dim  blue  sky  ;  some  hills  quite  near,  that  give  one  the  sensation 
of  a  closed  life.  Generally,  and  even  nearly  always,  the  signature  of  Leon  Bonvin 
is  traced  neatly  in  black  ;  in  this  case  it  is  written  in  somber  red.  This  signature 
is  followed  by  the  date,  1865. 

“The  winter  of  1865  was  terrible  for  Leon  Bonvin.  Other  taverns  had  been 
opened  in  the  neighborhood  as  the  new  houses  advanced  over  the  plain.  The  work¬ 
men  had  perhaps  felt  embarrassed  at  coming  into  contact  with  artists  and  bourgeois, 
and  they  no  longer  came.  Leon  Bonvin,  having  nothing  to  do  at  home,  had  even 
worked  as  a  carter  with  the  stone  wagons.  Debts  were  accumulating.  He  had  a 
bill  of  thirteen  hundred  francs  to  meet.  He  was  tortured  by  jealousy.  His  heart 
and  his  hands  were  torn  by  every  thorn. 

“  On  January  29,  1866,  he  went  to  return  some  ancient  glass  which  had  been 
obligingly  lent  to  him  ;  thence  to  see  a  dealer  in  water  colors,  who  did  not  deign  to 
choose  anything  out  of  his  portfolio.  He  found  all  the  water  colors  *  too  dark,  not 
gay  enough.’ 

“A  week  afterward  M.  Francois  Bonvin  addressed  the  following  letter  to  M. 
Albert  de  la  Fizeliere,  who,  a  few  weeks  before,  had  called  attention  to  the  misery 
of  the  artist. 

“  ‘  My  Dear  Sir:  Here  is  a  very  sad  conclusion  for  your  article  in  the  Evinement 
of  the  13th  November  last.  My  poor  brother,  in  spite  of  all  his  efforts,  has  been 
overcome  by  evil  fortune.  The  attempts  which  he  made  a  week  ago  to  sell  the  last 

drawings  he  had  executed  were  vain.  The  picture-dealer  -  offered  him  ten 

francs  for  drawings  for  which  the  others  ordinarily  paid  him  sixty  francs. 

“  ‘The  future  seemed  to  him  more  gloomy  than  the  past.  Instead  of  confiding 
to  me  the  full  extent  of  his  needs,  he  determined  to  have  done  with  everything,  and 
he  went  and  hung  himself  on  a  tree  in  the  wood  of  Meudon  on  the  evening  of 
January  31.  You  knew  him,  and  you  know  that  fraternity  does  not  blind  me  when 
I  proclaim  that  he  was  indeed  the  best  and  purest  of  the  best.  As  an  artist,  one  has 
only  to  look  at  his  drawings  to  recognize  his  worth.  His  musical  aptitudes  were 
unknown. 

“  ‘  All  this  is  dead  ! 

“  ‘Now  there  remain  three  children  and  a  weakly  wife,  and  I  myself,  who  am 
almost  in  as  great  misery,  for  at  the  present  moment  all  the  fruit  that  1  have  gathered 


of  my  labors  is  to  have  but  few  debts  relatively  to  what  I  should  have  had  if  I  had 
allowed  myself  all  the  necessaries  of  life.  We  need,  then,  dear  sir,  your  kind  aid  to 
endeavor  to  organize  a  sale.  For  my  part,  1  have  never  failed  to  respond  to  the 
appeals  that  have  been  made  to  me  by  others  in  similar  circumstances,  and  I  hope  1 
shall  find  amongst  our  colleagues  enough  sympathy  to  help  me  in  the  sad  mission 
which  has  fallen  to  my  lot. 


F.  Bonvin. 


i  (  t 


“  '  6th  of  January,  i860. 

« 

“  ‘P.S. — His  body  was  not  found  until  Saturday,  at  Meudon,  at  the  foot  of  a 
tree,  near  the  pond  of  Villebois.  The  branch  had  broken.  This  is  the  only  damage 
he  ever  did  in  his  life.  He  was  just  thirty-two  years  of  age.’” 

A  broken  branch  in  a  forest,  unconsciously  broken  ;  the  only  damage  he  ever 
did  in  his  life.  The  Church  buried  him  in  unconsecrated  ground,  forgetting  that 
from  a  child  he  had  read  the  gospels  of  God’s  blossoms,  and  had  pondered  the 
hour-book  of  Nature  as  a  breviary  for  meditation  and  prayer. 

Could  birds  and  flowers  have  held  convocation  over  the  cold  clay,  they 
might  have  said  :  “  Let  us  put  him  beneath  a  coverlid  of  moss  in  the  stillest  spot 
of  Meudon  wood,  and  tell  the  frail  violets  he  loved  to  grow  there  always  for  his 
memory.” 


“CHAM” 


(Nom  de  plume) 


HE  Count  Amedee  Charles  Henri  de  Noe  was  born  January  20,  1819,  on  a 


-*■  small  island  near  Mirande,  whence  the  name  of  the  family  is  derived,  whose 
nobility  dates  from  the  ^Carlovingian  kings.  He  studied  under  Paul  Delaroche, 
Charlet,  and  Launy.  As  Ham  was  the  second  son  and  scapegrace  of  Noah,  so 
“Cham,”  or  Ham,  was  the  second  son  and  scapegrace  of  Jude  Amedee  Compte 
de  Noe,  a  peer  of  France.  His  mother  was  an  English  lady.  He  was  a  great  wit, 
and  the  political  caricaturist  of  Charivari  (the  French  Punch).  The  count  was  one  of 
the  founders  of  the  Republic  in  187s.  The  blending  of  two  strains  of  blood  in  his 
veins  combined  the  most  striking  characteristics  of  the  two  nations.  His  satiric 
force  was  sweeping  and  yet  concise.  Paris  afforded  rich  soil  and  hot  incongruities 
for  his  ranging  pencil.  The  downfall  of  the  Empire,  the  incoming  of  the  Republic, 
with  its  communistic  tendencies,  brought  about  the  very  complications  in  which 
the  caricaturist  delights.  “  Cham  ”  was  the  largest  figure  in  his  day  in  the  school 
of  satire,  and  was  openly  recognized  as  the  successor  to  Gavarni,  than  which  higher 
praise  cannot  be  spoken.  He  died  in  the  year  1879.  Only  a  few  of  his  productions 
bear  the  family  name;  they  generally  show  his  pseudonym,  “Cham.” 


* 


PAUL  JEAN  CLAYS 

\ 


rT''HIS  distinguished  Belgian  was  born  at  Bruges,  1819.  He  was  the  pupil  of 
Gudin,  in  Paris,  devoting  himself  to  genre  marine  subjects,  breaking  the  tradi¬ 
tions  of  the  average  artist,  who  spasmodically  surges  over  his  canvas  with  great 
storms.  Clays  was  Wordsworthian  in  his  work,  revealing  the  waters  asleep  or 
stirred  by  the  tide's  pulses.  His  studies  on  the  birth  of  waves  under  the  caress 
of  the  breeze;  the  uneasy  shivers  that  have  a  menace  of  the  winds  in  them  ;  the 
clearness  of  rivers  widening  to  the  sea  ;  the  snapping  reflections  of  the  sun’s  rays 
crossing  the  faint  crests  that  shimmer  on  the  bosom  of  the  Scheldt  ;  the  cool  tones 
and  humid  greys  of  the  skies  of  western  Flanders  ;  these  are  the  motifs  that  allure 
his  hand.  He  settled  at  Brussels,  where,  in  1851,  he  received  the  gold  medal. 
At  the  Salon  of  1877  he  exhibited  “The  Zuyder  Zee”  and  “A  Canal  in  Zealand.” 
His  later  works  show  travel  beyond  the  girdle  of  his  moist  horizons — views  on  the 
Thames  and  of  the  North  Sea.  In  these  he  still  held  to  his  mood  of  serenity.  “The 
magical  charm  of  morning,  the  golden  brilliancy  of  the  evening  twilight,  the  infinite 
variety  of  tones  which  light  produces  on  waves,  became  the  ideal  of  the  sea  painters 
after  Clays.”  Like  him,  they  scarcely  left  the  shore,  or,  at  least,  when  taking  the 
track  of  the  high  seas,  kept  a  blue  line  of  hills  on  the  horizon. 


JOSEPH  THEODORE  COOSEMANS 

\X/E  recognize  in  the  name  of  this  artist  one  of  the  most  interesting  landscape 
’  ’  painters  of  Europe.  His  studio  is  in  Brussels,  where  he  has  been  honored 
with  the  Order  of  Leopold.  Among  his  impressive  works  may  be  numbered 
“Entrance  to  Gorge  aux  loups  in  Fontainebleau  Forest”  (Exposition  Universelle, 
Amsterdam,  1883),  “Road  in  Heath  of  Geuck  Plateau  Belle  Croix  at  Fontainebleau” 
(Munich  Exhibition,  1883),  “Autumn  Landscape ”  (Jubilee  Exhibition,  Berlin,  1886). 
He  has  by  sheer  force  of  perception  and  exactness  of  knowledge  put  before  us 
examples  of  strong  feeling.  The  two  landscapes  in  this  collection  indicate  that 
he  went  straight  to  nature.  Few  winter  scenes  run  so  perfectly  the  entire  gamut 
of  cold  notes  and  with  such  simplicity  of  expression. 


JEAN  BAPTISTE  CAMILLE  COROT 


rT''HIS  distinguished  landscape  painter  was  born  in  Paris,  July  20,  1796  ;  he  died 
*■  there  February  23,  1875.  He  was  the  pupil  of  Michallon  and  of  Victor  Bertin. 
These  taught  him  little.  He  says  that,  having  passed  two  winters  with  Bertin  when 
he  arrived  in  Rome,  he  was  the  merest  tyro  at  sketching.  “Two  men  stopped  to 
converse  ;  I  began  to  sketch  them,  beginning  on  one  part — the  head,  for  example. 
They  would  separate,  leaving  me  with  a  couple  of  pieces  of  their  heads  on  my  paper. 

I  saw  some  children  on  the  steps  of  a  church  ;  no  sooner  did  I  begin  to  sketch 
than  their  mother  called  them.  1  saw  that  in  this  way  my  portfolio  would  be  filled 
with  ends  of  noses,  foreheads,  and  locks  of  hair.  I  resolved  not  to  return,  when  I 
went  out  to  sketch,  without  having  something  in  its  entirety.  1  attempted,  there¬ 
fore,  to  sketch,  in  the  twinkling  of  an  eye,  the  first  group  that  presented  itself  :  if  the 
figures  remained  in  position  for  a  time,  I  had  at  least  the  character — the  general  out¬ 
line  ;  if  they  remained  long,  1  added  details.  I  practiced  in  this  way  until  I  was  able 
to  fix  the  outlines  of  a  ballet  at  the  opera,  with  a  few  strokes  made  with  lightning- 
like  celerity.”  This  habit  came  to  the  front  when  he  wrestled  breast  to  breast  with 
Nature,  applying  himself  not  so  much  to  the  form  and  line  as  to  the  life.  In  the 
clear-eyed,  sympathetic  study  which  M.  Albert  Wolff  has  given  to  his  work,  we 
find  these  words:  “The  controlling  principle  in  this  great  artist  is  never  to  strike 
the  Philistine  by  panoramic  magnitude,  but  to  establish  in  his  art  the  vibration 
which  is  in  Nature,  to  take  by  surprise  its  perpetual  life,  to  send  the  air  circulating 
through  space,  to  shake  the  foliage  in  the  breeze.  He  wishes  to  disengage  and 
carry  to  his  canvas  the  poet’s  impression  of  the  object.  This  poetry,  he  rightly 
deems,  is  not  only  in  the  composition — the  composition  is  to  him  of  small  account — 
it  is  in  the  truth,  for  nothing  is  of  such  finished  poetry  as  truth  itself.  Whether 
it  be  the  old  bridge  of  Mantes,  glimpsed  through  the  tall  trees  which  reflect  them¬ 
selves  in  the  sunny  waters,  or  Garda  Lake,  stretching  out  of  sight  into  the  light 
of  dawn,  with  the  leafage  of  the  trees  upon  its  brink  trembling  in  the  wind — it  is 
always  the  country  feeling  which  this  artist  applies  to  his  canvas,  whatever  the 
aspect.  Corot  is  the  excelling  interpreter  of  the  serenity  of  Nature. 

“We  need  not  be  surprised  that  a  style,  springing,  as  it  may  be  said,  all  fresh 
from  the  nerves  of  a  primitive  artist  who  sought  the  support  of  no  predecessor,  was 
so  long  a  subject  of  debate.  The  public  had  been  so  habituated  to  see  filing  before 


its  eyes  a  succession  of  rigid  landscapes  that  it  was  naturally  troubled  before  the 
vibrating  themes  of  Corot.  Those  who  recommence  eternally  the  official  teaching 
of  the  schools  rejected  him  desperately.  And  he,  the  quiet,  inspired  man,  heard 
little  of  the  clamor  in  the  solitude  of  his  woods,  on  the  banks  of  the  pool,  where 
he  opened  his  soul  to  the  enchantment  of  creation.” 

Corot  has  opened  to  us  the  strong  tenderness  of  Nature’s  heart.  He  remem¬ 
bered  that  from  of  old  the  pillars  of  Hiram  were  crowned  with  lilies;  that  the  mountain 
wall  must  carry  its  frieze  of  mosses,  the  forest  its  fringe  of  ferns.  He  has  the  mood 
of  Hellenic  calm,  and  is  a  Greek  in  the  joyous  accord  which  he  feels  with  the  rhythmic 
pulse  of  the  universe.  He  has,  as  no  other,  found  the  secret  of  massing  tree-forms 
and  foliage  on  trees,  which  makes  the  leaf  type  the  tree  and  the  tree  the  leaf.  A 
gigantic  oak  is  lifted  against  the  sky,  in  the  two  color  tones  of  a  single  banner  on 
its  boughs,  showing  the  misty  green  of  the  up  side  and  grey  of  the  down  side.  This 
scientific  glance  and  grasp  is  suggestive  of  the  whole  range  of  Corot’s  realism, 
which  is  interpenetrated  with  dreams  of  the  ideal.  He  has  helped  the  world  to 
breathe  and  feel  its  atmosphere.  Breadth  of  view  is  on  the  vision  of  thosev  who 
sit  at  his  feet.  He  is  the  herald  of  the  gentle  dawn;  the  evangelist  of  the  evening 
fields.  “But  he  is  monotonous,”  says  the  critic — “grey,  always  grey.”  “To 
thoroughly  appreciate  my  landscapes,”  said  Corot,  “it  is  at  least  necessary  to  have 
patience,  to  let  the  fog  clear  up.  They  are  not  easily  understood,  but  when  they 
are  understood  they  ought  to  please.”  His  verdure  and  sunlight  may  seem  to 
drift  past  us  as  under  a  veil,  but  on  the  farther  side  every  object  retains  its  relative 
value.  The  Divine  Limnist  works  behind  half-translucent  curtains.  The  heavens 
have  their  azure  of  mystery, 

“And  store  the  dew  in  their  deeps  of  blue, 

Which  the  fires  of  the  sun  come  tempered  through.” 

France  paid  to  Corot  the  signal  honor  of  an  exhibition  of  his  works  in  the 
Melpomene,  the  grand  hall  of  the  Ecole  des  Beaux  Arts.  Two  hundred  of  his  can¬ 
vases  occupied  the  walls  where  Baudry’s  masterpieces  won  their  unanticipated 
triumph.  In  1833  he  received  a  second-class  medal  ;  two  of  the  first  class  came 
to  him  in  1848  and  1855.  In  1846  he  received  the  Legion  of  Honor,  and  was 
made  an  Officer  in  1867.  A  little  while  before  his  head  was  pillowed  in  final 
rest,  the  artists,  independent  of  the  official  partisans  of  exhibitions,  held  a  meeting, 
and  offered  Father  Corot  a  gold  medal.  With  radiant  heartiness  he  thanked  those 
whom  he  called  his  children.  He  had  the  privilege  of  never  growing  old  ;  his 
life  was  a  perpetual  artistic  renovation. 

“  When  young  he  had  strolled  singing  over  the  plains  ;  advanced  years  found 
him  just  as  free  from  care  as  he  had  been  half  a  century  before.  We  discovered  him 
bent  like  a  schoolboy  over  his  themes  to  the  last,  now  erasing  with  a  movement  of 


anger  the  study  which  would  not  come  up  to  the  example  of  nature  contemplated 
by  the  artistic  eye,  now  drawing  back  with  sudden  satisfaction  to  better  calculate 
the  effect  of  the  effort  ;  when  we  would  hear  him  from  far  off,  approving  himself 
aloud  and  awarding  himself  a  prize,  with  the  words  ‘  Famous,  that  bit  !  ’  or  criticis¬ 
ing  himself  roundly  with  the  sentence,  ‘  We  will  begin  it  all  over  again,  my  lad  !  ’  ” 
He  passed  serenely  to  his  rest.  On  his  final  day  he  roused  with  a  smile, 
and  said  :  “  Last  night,  in  my  dreams,  1  saw  a  landscape  with  a  sky  all  rosy. 
It  was  charming,  and  still  stands  before  me  quite  distinctly  ;  it  will  be  marvelous 
to  paint.”  Above  Ville  d’Avray  there  lingers  yet  a  sky  of  rose,  like  the  after¬ 
glow  of  an  Egyptian  sunset,  and  in  that  sky  shines  the  steady  star  of  his  fame. 


CHARLES  FRANCOIS  DAUBIGNY 


N  artist  who  has  shown  to  the  world  a  fresh  view  of  the  loveliness  of  nature. 


*■  *■  He  had  in  a  peculiar  sense  his  own  standpoint  and  individual  equation,  which 
gave  glimpses  and  opened  vistas  hitherto  sealed.  He  was  born  in  Paris  in  1817, 
and  was  the  youngest  of  the  famous  Barbizon  circle.  His  antecedents  were  favor¬ 
ing  forces  to  his  chosen  vocation,  his  father  and  kindred  being  exhibitors  at 
the  Salon.  He  passed  his  curriculum  in  the  studio  of  Delaroche,  and  appeared, 
when  nineteen  years  old,  with  a  picture  and  an  etching  in  the  Salon  of  1836. 
Through  a  misapprehension  as  to  terms  of  competition,  he  lost  the  Trix  de  Rome. 
Instantly  he  determined  to  go  to  the  imperial  mother  at*  his  own  charges.  In 
company  with  his  room-mate,  named  Mignan,  he  started  on  a  tour  to  Italy.  To 
meet  the  expenses  of  the  expedition,  they  pinched  and  saved  small  sums,  putting 
them  in  a  hole  punched  in  the  wall.  At  the  end  of  the  year  they  tore  down  the 
wall  and  found  eighteen  hundred  francs  in  their  hands.  Henriet,  in  his  memoirs, 
narrates:  “Daubigny  and  Mignan  set  out,  knapsack  on  back,  heavily  shod,  stick  in 
hand,  intoxicated  with  sunshine  and  liberty.  They  felt  that  all  the  world  was  their 
own.  Their  walk  was  one  long  enchantment  as  they  saw  new  perspectives  open 
every  moment  before  their  eyes  and  a  succession  of  panoramas  unrolled,  at  the 
richness,  the  accent,  and  the  variety  of  which  they  marveled.  Beyond  Lyons  they 
recognized  with  ecstasy  the  presence  of  the  South  by  the  intenser  light  of  the  sky 
and  the  grandeur  of  the  landscape  dressed  in  a  vegetation  unknown  in  our  latitudes 
— the  olive,  the  cypress,  the  pine,  all  the  beloved  trees  of  the  antique  idyl.  They 
passed  at  last  across  the  delightful  garden  shut  in  on  the  left  by  the  first  mountains 


of  the  Alps  and  on  the  right  by  the  peaks  of  the  Cevennes.  At  last  they  trod  the 
epic  soil  of  Italy.  They  visited  Florence,  Rome,  and  Naples,  finally  settling  down 
to  work  at  the  old  Roman  resort  of  Subiaco.” 

The  two  friends  remained  in  Italy  a  year,  when  again  they  started  northward, 
heading  for  Paris,  walking  every  foot  of  the  distance  and  arriving  penniless.  But 
little  trace  of  Italian  influence  can  be  found  in  the  pictures  of  Daubigny,  in  which 
regard  he  distinctly  differed  from  Corot,  who  absorbed  with  eagerness  the  classic 
charm  of  Italy,  revealing  it  in  his  style  ever  after,  most  notably  in  his  canvas  of 
“Orpheus  Greeting  the  Morn.”  At  the  age  of  twenty-three  Daubigny  attained 
success,  and  never  lost  it. 

In  1848  he  won  a  second-class  medal,  in  1853  one  °f  the  first  class.  The  seal 
was  set  upon  his  reputation  when  the  Emperor,  in  1852,  purchased  his  picture  of 
“The  Harvest”  for  the  Tuileries,  following  it,  in  1853,  with  the  purchase  of  another 
for  St.  Cloud.  In  1859  he  was  invested  with  the  Legion  of  Honor  ;  was  made  an 
Officer  of  the  Order  in  1875. 

The  picture  that  won  him  the  Cross  of  the  Legion  was  “Springtime.”  A 
peasant  girl  rides  through  a  field  of  tender,  upright  grain  ;  the  marked  features  in 
the  landscape  show  groups  of  young  apple  trees,  whose  branches  quiver  with  blos¬ 
soms.  It  was  purchased  by  the  government,  and  is  now  in  the  Louvre.  Daubigny 
was  destined  to  be  the  enchanter  of  the  rivers  of  France.  He  built  a  large  boat, 
which  became  his  drifting  studio  and  home.  This  was  arranged  for  long  trips  ; 
the  cooking  was  done  on  board  ;  there  was  a  good  wine  cellar  and  well-filled  larders. 
Here  he  adjusted  his  easel  and  “went  on  the  watch”  for  scenes.  He  became  a 
familiar  figure  to  the  peasants  and  boatmen  along  the  banks  of  the  Oise,  the  Marne, 
and  Seine,  who  grew  fond  of  him  and  called  him  “captain,”  a  title  which  gave  him 
pleasure,  as  he  affected,  so  far  as  his  voyages  would  allow,  to  be  a  hardened  sailor, 
made  rugged  by  risky  navigations. 

His  “  Valley  of  the  Optivoz,”  painted  in  1853,  ranks  a  masterpiece.  Of  this 
picture  the  Count  Clement  de  Riz  says  :  “The  eye  rests  on  every  part  with  pleasure 
and  floats  undecided  between  the  sapphire  of  the  sky  and  the  velvet  of  the  vegetation. 
One  seems  to  smell  the  clover  and  hay,  to  hear  the  hum  of  the  insects,  and  catch 
the  sparkling  of  the  light  over  the  wheat  fields.” 

His  “Lock  of  the  Optivoz,”  exhibited  in  the  Salon  of  1855,  was  bought  by  the 
government,  and  is  in  the  Louvre,  as  are  also  “Springtime”  and  the  “Vintage.” 

In  the  special  class  of  subjects  to  which  he  was  drawn  he  was  unrivaled  and  has 
found  no  successor.  His  influence  on  the  art  of  the  century,  like  sun-rays  that  have 
penetrated  the  earth,  cannot  be  overestimated.  Of  him  Albert  Wolff  says:  “He 
brought  to  landscape  painting  the  realistic  keynote  in  the  best  sense  of  the  term— that 
is  to  say,  the  matching  of  real  objects  by  a  deeply  felt  stroke,  so  that  with  each  new 
sensation  freshly  breathed  in  the  presence  of  Nature,  he  shifted  his  art  ;  in  one  picture, 


where  the  painter  has  paused  to  smile  at  the  perfect  grace  of  a  landscape,  his  painting 
is  full  of  the  lambent  flatteries  which  accompany  a  beam  of  the  sun  in  the  springtime; 
in  another,  where  he  has  found  himself  astounded  before  the  grandeur  of  the  scene, 
he  rises  to  the  calm  height  of  greatest  art  ;  when  the  landscape  had  struck  him,  espe¬ 
cially  by  its  general  planes,  he  flung  it  on  the  canvas  in  those  marvelous  sketches 
which  the  artist  refused  to  carry  on  further  because  he  had  nothing  to  add  to  this 
massy  statement  ;  at  other  times  he  insinuates  himself  into  details  as  exhaustively  as 
possible  and  refines  on  his  work  to  the  utmost  limits  of  execution.  The  career  of 
Daubigny  is  based  on  the  simple  and  truthful  art  theory  that  the  handling  of  a  picture 
ought  to  reflect  the  mood  felt,  that  the  painter  can  no  more  work  perpetually  in  the 
same  style  than  the  writer  can  employ  an  unvarying  form  for  the  play  of  his  thought.” 

When  he  reached  the  meridian  of  his  triumphs,  beset  by  collectors,  solicited 
by  dealers,  fawned  upon  by  Paris,  he  remained  uncorrupted  and  could  not  be  tempted 
like  Pere  Corot,  who,  in  late  life,  not  unfrequently  did  hurried  service  to  his  art  in  the 
shape  of  small  panels,  which  the  old  man  was  pleased  to  call  “little  dreams.”  Of 
the  group  to  which  he  belonged  he  was  perhaps  nearest  to  Corot  not  only  in  artistic 
sympathy,  but  in  tenderness  of  personal  affection.  He  was  therefore  pained  at  noting 
his  hasty  work,  and  blamed  him  for  it  with  some  bitterness.  Daubigny  kept  his 
heart  sweet  to  the  end.  He  died  of  a  disease  contracted  through  long  exposures 
in  his  “La  Bottin.”  The  damp  river  shores  yielded  winsome  shadings  of  mist  and 
light,  but  they  also  surrendered  rheumatisms  that  clutched  him  remorselessly,  lining 
his  clear  face  with  pain  and  aging  him  beyond  his  age. 

Death  found  him  waiting  without  fear.  As  the  vesture  of  his  mortality  was 
unclasped,  his  thoughts  turned  to  those  who  had  dropped  their  mantles  before 
him,  “his  rivals  in  renown.”  He  said  between  final  spasms  for  breath:  “Adieu; 
I  am  going  to  see  up  there  whether  friend  Corot  has  found  me  any  new  subjects 
for  landscape  painting.” 


ALEXANDRE  GABRIEL  DECAMPS 


HE  picture  by  which  Decamps  entered  the  Salon  of  1827  was  that  of  a  Turk, 


*  which,  it  is  said,  was  evolved  from  his  inner  consciousness.  He  had  not  yet 
visited  the  East,  but  the  soft  fire  of  a  thoroughbred  Orientalist  glowed  in  his  blood, 
originally  kindled,  perchance,  through  the  arteries  of  some  far-off  ancestor.  Decamps 
was  born  in  Paris,  March  3,  1803  ;  he  died  at  Fontainebleau,  August  22,  i860.  He 


was  sent,  when  a  boy,  into  the  country,  where'  he'  raft  wild  ;  his  only  companion¬ 
ship  was  that  of  peasants,  whose  patois  he  spoke,  whose  manners  he  imitated.  This 
unrestrained  period,  lasting  for  three  years,  gained  a  strong  grip  on  the  development 
of  his  character,  which  was  always  impatient  of  restraint.  His  tastes  gravitated  to 
the  unrefined  side  of  society.  Conscious  of  intense  possibilities,  he  was  eager  to 
break  the  shell  that  limited  them,  yet  unready  to  discipline  his  powers  by  that 
training  and  intelligence  which  are  the  impartial  but  arbitrary  conditions  of  permanent 
success.  Looking  backward  through  misspent  opportunities,  he  lived  to  grieve 
bitterly  over  the  loss  of  that  larger  birthright  which  might  have  been  his.  Monsieur 
Chesneau,  in  the  Chefs  d’ffcole,  says  of  Decamps’  youthful  blunders:  “Cruel 
chastisement  for  an  hour  of  weakness  at  the  decisive  time  !  he  lived  with  the 

■  crushing  certainty  that  he  had  not  expressed  what  was  in  him  ;  he  died  with  the 
conviction  of  having  left  his  work  undone.”  It  was  his  ambition  to  rank  as  a  great 
historical  painter,  but  just  here  the  fetter  lay  on  his  faculty  ;  he  had  not  the  academic 
training,  the  skill  of  fiber  which  means  drill  of  force,  the  alert  and  technical  vision 
which  pierces  the  semblances  of  affairs  and  goes  direct  to  the  crimson  center  of  life’s 
battle.  Had  Decamps  known,  in  his  formative  period,  the  tuition  of  a  great  master, 
there  would  have  been  absolutely  no  measure  to  the  display  of  his  magnificent  equip¬ 
ment.  Bravely  facing  the  inner  captivities  which  he  mourned,  he  has  wrought  a 
marvelous  series  of  canvases,  setting  the  almost  fierce  individualism  of  his  work  on 
the  very  eye-line  of  the  world’s  salon.  There  are  critics  who,  differing  from  Decamps’ 
-judgment,  feel  that  he  has  been  the  gainer  for  the  lack  and  loss  of  early  discipline. 
They  say  he  was  a  predestined  artist  ;  that  his  taste  came  without  effort  ;  that  his 
finest  traits  are  found  in  what  he  did  in  defiance  of  the  instruction  he  received  ;  that 
the  heroic  painters,  the  men  of  Titanic  build,  fail  to  indicate  the  slightest  influence  of 
their  teachers.  True  ;  but  we  must  bear  in  mind  that  it  appears  a  satire  on  the  part 

■  of  Providence  to  appoint  mediocre  ability  to  develop  the  children  of  genius.  The 
master  of  Decamps  was  Abel  de  Pujol,  whom  Albert  Wolff  classifies  as  really  some¬ 
body  under  the  Restoration,  while  waiting  to  be  nobody  at  all  under  Louis  Philippe. 
Decamps  showed  a  large  susceptible  soul  to  the  world  of  events  around  him.  Sensi¬ 
tively  responding  to  these,  he  took  control  of  the  facts  they  presented,  sought  the 
environment  and  local  color  with  care,  and  then  put  them  out  through  the  luminous 
impressions  of  his  own  intelligence.  The  East  he  dreamed  of  in  his  studio  at 
Fontainebleau  was  not  the  East  he  found  when,  inspired  by  the  struggle  of  the 
Greeks  for  independence,  he  hurried  to  Athens,  his  brain  full  of  the  ideals  of 
Pericles,  his  heart  stung  with  ardor  in  their  behalf.  The  disenchantment  was  not 
long  in  coming,  not  only  there,  but  afterward  in  Asia  Minor  and  along  the  shore¬ 
lines  of  the  Mediterranean.  When  he  had  seen  and  digested  the  Greek,  the  Turk, 
the  Arab  on  their  native  soils,  he  returned  to  Paris  far  wiser  and  quite  willing  to 
Lbreak  forever  with  those  creatures  that  pose  or  stride  in  the  average  Eastern  picture. 


It  is  not  a  matter  of  wonder  that  after  dipping  his  brush  in  the  actual  sunlight  of  the 
Orient  he  became  the  colorist ‘of  his  time.  His  effort  never  degenerates  into  trivi¬ 
ality.  He  paints  a  brace  of  beggars  with  the  dignity  of  patriarchs,  and  an  episode 
from  a  street  corner  in  Cairo  with  the  charm  of  an  old  world  idyl.  It  has  been 
observed  that  while  Delacroix  painted  with  color,  Decamps  painted  with  light.  His 
figures  are  draped  in  the  glow  of  the  sun.  He  was  attracted  by  scriptural  themes, 
as  evidenced  in  his  “Samson”  and  “The  Good  Samaritan.”  Honors  were  wel¬ 
comed,  but  to  him  appeared  few  and  inadequate.  He  could  not  be  satisfied,  because 
unrestful  before  a  goal  unreached.  He  took  his  bread  from  the  world,  but  found 
it  a  stone  in  his  hand  when  he  sought  to  feed  his  loftier  aspirations.  The  lone¬ 
liness,  the  pathos  of  his  career  irritated  his  heart.  We  read  the  roll  of  his  medals 
—Paris,  1831-1834  ;  Legion  of  Honor,  1839  ;  Officer  of  the  same,  1851 — and  are 
certain  that  to  him  these  were  but  small  crests  for  the  decoration  .of  an  evening  hour 
compared  to  the  ideal  for  which  his  spirit  thirsted. 

Suddenly  thrown  from  his  horse,  and  violently  striking  a  tree,  he  was  killed 
in  the  forest  of  Fontainebleau. 


ERNEST  ANGE  DUEZ 


TIE  was  born  in  Paris,  March  8,  1843.  His  master  in  art  was  Carolus  Duran. 
*  As  genre  painter  he  obtained  medals — third  class,  1874,  and  first  class,  1879  ; 

Legion  of  Honor,  1880.  His  large  religious  pictures  brought  him  his  first-class 
medal.  Subsequently  he  turned  aside  from  expressions  of  this  character  and  took 
a  more  varied  range  of  subjects.  He  painted  animals,  landscapes,  portraits.  His 
representations  of  street  and  cafe  life  have  fine  stories,  told  in  a  firm  yet  delicate 
strain.  He  has  kept  the  freshness  of  his  early  emotions  and  the  ardor  of  his  original 
enthusiasms.  His  career  not  unfittingly  stands  for  the  counsel  of  Leonardo  da  Vinci  : 
“It  is  not  being  a  strong  man  among  painters  to  succeed  in  only  one  thing — the 
nude,  the  head,  animals,  landscapes.  There  is  no  mind  so  gross  that  in  time, 
with  continued  and  earnest  application  to  one  thing,  it  cannot  succeed  in  accom¬ 
plishing  it  satisfactorily.  A  painter  should  be  universal,  study  everything  he  comes 
in  contact  with,  render  account  of  all  that  he  sees,  let  nothing  remarkable  pass 
without  keeping  a  sketch  or  reminder  of  it,  and  only  cling  to  what  is  in  all  ways 


excellent.” 


HENRI  LOUIS  DUPRAY 


E  was  born  at  Sedan  (Ardennes),  November  3,  1841.  A  pupil  of  Pils  and  Leon 


1  1  Cogniet.  Patiently  seeking  the  path  of  the  historical  painter,  he  has 
achieved  solid  success,  ranking  with  Detaille  as  a  leader  in  the  new  school  of  military 
artists.  Fine  composition,  correct  color,  and  vigorous  treatment  are  combined  with 
a  thorough  perception  of  the  war  spirit  and  a  mastery  of  technical  details.  His 
soldiers  are  not  men  who  have  come  out  of  an  enamel  factory,  stiff  and  rigidly 
complete,  not  wanting  a  gaiter  button,  but  are  plastic  forms  drilled  into  strength, 
who  have  been  under  fire  and  have  not  flinched.  Medals  :  1872,  1874  ;  Legion  of 
Honor,  1878. 


FIRMAN-GIRARD 


HE  favorite  pupil  of  Gleyre  was  born  at  Poncin,  1838.  Under  his  master's 


1  suggestion  he  adopted  a  style  of  light  genre  subjects  treated  in  fresh  and 
luminous  coloration.  His  medals  were  awarded — third  class,  1863;  second  class, 
1874.  At  the  Salon  of  1873  he  exhibited  “The  Garden  of  the  Godmother”;  in 
1874,  “The  Fiances,”  a  picture  of  unusual  refinement.  His  “Flower  Market” 
was  a  delightful  epitome  of  Paris.  The  actual  technique  leaves  nothing  to  be  desired; 
every  detail  is  elaborated  with  fidelity,  but  the  amount  of  detail  is  excessive,  the 
minutiae  overdone.  While  no  color  note  is  missing,  the  theme  lacks  synthesis, 
that  texture  as  a  whole,  that  breadth  of  light  and  shade  which  becomes  the  har¬ 
monic  utterance  of  a  great  picture  achieved  by  Claude  Monet’s  “Field  of  Poppies.” 
Firman-Girard  achieves  it  in  another  canvas,  known  as  “The  Flower  Girl,”  which 
has  placed  his  reputation  on  an  enduring  basis.  Here  every  value  is  balanced 
with  the  veritable  touch  of  a  master.  The  girl  is  a  lovely  outblossoming  of  flesh, 
pure,  radiant,  and  naive;  the  perfumed  chalices  she  cries  are  but  garden  echoes  of 
herself.  The  Stewart  collection  gains  in  this  example  a  melodic  charm  not  to  be 
found  elsewhere. 


MARIANO  FORTUNY 


T3EUS  is  a  small  thrifty  town  in  the  Province  of  Tarragona.  An  event  significant 
*  ^  for  the  universal  art  world  occurred  at  six  o’clock  in  the  morning,  June  11, 
1838  :  a  man-child  was  born  to  Mariano  Fortuny,  a  cabinetmaker,  and  his  wife, 
Teresa  Marsal.  The  waters  of  baptism  consecrating  this  new  pilgrim  within  a 
few  hours  after  his  advent,  were  administered  by  Juan  Yxart,  parish  priest  of  the 
Church  of  St.  Peter  the  Apostle.  The  child,  named  also  Mariano  •  Fortuny,  shot 
prophetic  flashes  into  the  near  future,  and  foretold  in  early  years  the  career  he 
was  destined  to  follow.  When  a  mere  lad  he  lost  his  father  and  mother.  He  often 
gypsied  over  the  country,  tramping  leagues  to  display  a  group  of  wax  figures. 
At  the  age  of  fourteen  he  left  Reus,  accompanied  by  his  grandfather,  who  was 
taking  him  a  journey  of  sixty  miles,  walking  every  foot  of  the  distance,  to  meet 
M.  Domingo  Talarn.  This  artist  was  at  once  fascinated  by  the  sketches  shown  him. 
On  October  3,  1853,  Mariano  was  registered  on  the  rolls  of  the  Academia  de  Bellas 
Artes,  of  Barcelona,  where  he  remained  until  the  end  of  1856,  studying  meanwhile 
under  M.  Claudio  Lorenzalez.  In  1 8s 5  he  painted  in  distemper  several  themes  of 
significant  size  based  upon  religious  subjects.  A  strong  impulse  stirred  his  mind 
through  the  figure-work  of  Gavarni,  whose  influence  he  never  ceased  to  feel.  In 
November  he  began  to  fit  himself  for  the  competition  for  the  prize  of  a  pensioner  at 
Rome,  offered  by  the  Provincial  Council.  He  drew  on  wood,  made  cuts,  lithographed, 
and  etched.  These  variations  produced  little  of  value,  but  gave  to  eve  and  hand  a 
certain  subtle  perception  and  deftness  of  touch  which  culminated  in  a  mastery  with 
the  brush  unsurpassed  and  rarely  equaled. 

Fortuny  gained,  by  the  unanimous  vote  of  the  Council,  the  Prix  de  Rome, 
March  6,  1857.  His  subject  was  “Raymond  Ill.  Nailing  the  Arms  of  Barcelona  to 
the  Castle  Tower  of  Foix.”  He  left  for  Rome  March  14,  1858,  and  arrived  five  days 
later.  One  can  picture  this  youth  of  twenty  years  confronting  the  garnered  treas¬ 
ures,  the  serious  commands,  the  majestic  memories,  the  lofty  ideals,  the  processional 
splendors  of  that  imperial  city.  With  keen  discrimination  and  a  naive  independence 
of  judgment,  he  writes  of  his  impressions,  under  date  of  May  3d,  to  his  old  master, 
M.  Lorenzalez  : 

“  What  I  admire  above  all  are  the  frescoes  of  Raphael  at  the  Vatican,  par¬ 
ticularly  ‘Mount  Parnassus,’  the  ‘School  of  Athens,’  the  ‘Dispute  on  the  Holy 


Sacrament,’  and  the  ‘  Burning  of  Bergo. ’  The  other  masters  did  not  impress  me  as 
I  expected.  What  I  call  a  well-painted  picture,  and  which  I  place  above  all  others,  is 
a  portrait  of  Innocent  X.  by  Velasquez. 

“  1  know  that  it  is  necessary  to  exercise  great  prudence  in  the  choice  best 
adapted  to  one's  talent,  for,  by  reason  of  the  many  opportunities  one  has,  it  is  as 
easy  to  retrograde  as  to  obtain  good  results.  I  say  this  because  1  am  discouraged 
by  seeing  how  little  it  profits  many  among  the  painters,  who  pass  entire  months  in 
these  galleries,  copying  the  great  masters,  and  who  afterwards  do  not  know  how  to 
draw  a  face  from  memory.” 

It  was  at  Rome  that  the  powers  of  this  child  of  Catalonia  began  to  stir  in  their 
sheath,  “and  that,”  says  M.  Gautier,  “more  by  the  blooming  of  his  natural  gifts 
than  by  the  direct  influence  of  the  great  masters  whom  the  world  goes  to  admire 
and  copies  on  its  knees.  Don't  let  us  in  the  least  blame  this  worship,  but  it  is  good 
sometimes  to  follow  the  bent  of  our  own  nature,  and  to  see  with  one’s  own  eyes.” 

Fortuny  was  susceptible  to  but  was  not  enslaved  by  these  enthroned  dynasties 
of  art  set  up  through  centuries  of  noble  endeavor.  He  must  take  sunlight  on  his  own 
retina,  and  his  art,  as  he  breathed  the  airs  of  the  Albanian  mountains,  through  the 
valves  of  his  own  life.  He  maintained  to  the  last  chapter  of  his  earthly  career  a 
certain  freedom  of  faith  and  valor  of  conviction  that  gave  to  his  personality  a  name¬ 
less  charm.  After  a  stay  of  seven  months  he  sent  two  pictures  from  his  easel  to  M. 
Pedro  Bover,  of  Reus,  one  showing  a  view  of  the  Tiber,  with  the  castle  of  St.  Angelo 
in  the  distance;  the  other,  “Nereides  sur  un  lac,”  at  the  fringe  of  a  forest.  He 
designed  the  funds  secured  from  the  sale  of  these  to  go  to  his  grandfather.  The  old 
man  wore  out  his  heart  in  yearning  for  the  child  who  had  been  his  comrade  as  well 
as  his  kinsman,  and  died  on  the  19th  of  March,  1859,  just  a  year  after  his  grandson 
arrived  in  Rome  and  as  the  latter  was  about  to  express  to  him  a  “  Saint  Mariano.” 

When  war  was  declared  between  Spain  and  Morocco,  the  Town  Council  of 
Barcelona  proposed  to  Fortuny  to  accompany  the  army  to  Africa  to  make  studies  and 
paint  souvenirs  of  the  campaign.  He  accepted  their  terms  and  left  by  the  first 
steamer.  He  carried  letters  of  presentation  to  the  commander-in-chief,  O’Donnell, 
and  to  Generals  Ros  d'Olano  and  Prim  and  a  number  of  other  eminent  persons.  He 
reached  Tetuan  in  February  in  company  with  M.  Escriu,  who  became  later  on  his 
brother-in-law.  The  letters  of  introduction  were  of  small  account  ;  he  suffered 
severe  hardships,  going  often  hungry  and  sleeping  upon  the  ground.  On  the  nth 
of  March  the  battle  of  Samsa  was  fought.  Fortuny  pressing  to  the  front,  a  ball 
spurted  the  dust  at  his  feet.  “Ah!”  said  a  soldier,  “that  was  meant  for  the 
painter,”  but  the  painter  was  intent  on  business  and  paid  scant  heed  to  danger. 
On  the  23 d  the  bloody  conflict  of  Wad-Ras  came  on,  the  Spaniards  gaining  a  decisive 
victory.  Throughout  these  experiences  the  artist  was  enlarging  his  world,  popu¬ 
lating  his  brain,  working  incessantly,  making  sketches  in  oil  and  water  color, 


figures  massed  and  single,  Arabs,  soldiers,  his  fellow  countrymen  the  Catalans,  Jews, 
and  landscapes.  On  the  23d  of  April  he  started  with  his  friend  for  Madrid,  which 
they  reached  at  the  same  hour  as  the  staff  of  the  army  of  Africa.  He  was  intro¬ 
duced  at  once  by  M.  Augustin  Rigalt  to  M.  Federico  Madrazo,  who,  seven  years 
afterward,  gave  him  his  daughter  Cecilia  in  marriage.  His  studies  of  the  war  were 
exhibited  publicly  in  Barcelona  and  created  general  admiration.  The  Town  Council 
sent  an  address  to  the  governor  of  the  province,  which  revealed  a  pride  and  solicitude 
worthy  of  the  grandfather  who  was  asleep  in  his  grave  at  Reus. 

“The  painter  Fortuny  has  happily  returned  from  Africa,  where  he  collected, 
at  the  cost  of  great  danger,  and  with  a  perseverance  and  zeal  worthy  of  all  praise, 
subjects  of  the  highest  interest,  which  he  will  doubtless  use  in  the  work  the  Town 
Council  has  entrusted  to  him.  Your  Excellency  has  seen  his  portfolios  of  sketches, 
souvenirs,  and  impressions,  and  will  understand  the  great  effect  these  drawings,  so 
simple  in  appearance,  will  one  day  produce.  So  exactly  do  they  show  us  the  places 
where  our  heroic  army  has  accomplished  great  deeds  of  arms  ;  also  the  dress,  char¬ 
acter,  and  manners  of  our  adversaries  in  this  African  war. 

“  Fortuny  to  this  time  has  well  done  his  honorable  task,  but  this  is  not  all. 
In  order  that  the  young  painter  may  finish  his  noble  work,  for  the  glory  and  honor 
of  his  country,  it  is  necessary  his  genius  should  feed  upon,  strengthen  itself,  and 
grow  prolific  by  study  of  the  great  masters.  The  Town  Council  feels  that  it  is  need¬ 
ful  that  he  should  visit  Paris,  Munich,  Berlin,  Brussels,  Milan,  and  Florence,  to  the 
end  that,  throwing  a  rapid  coup  d’ccil  on  their  museums  and  artistic  monuments,  he 
can  better  reconcile  with  the  principles  of  art  his  conceptions,  as  yet  crude.  A  trip 
of  six  or  eight  weeks,  with  a  companion  so  imbued  with  passion  for  the  beauties  of 
art,  will  suffice  to  accomplish  what  the  Town  Council  proposes.” 

This  plan  was  only  realized  in  part.  He  studied  in  Paris,  the  Museum  at 
Versailles,  and  later  in  that  of  Florence.  His  progress  was  rapid  and  brilliant.  At 
Paris  he  frequently  saw  Meissonier,  who  was  greatly  drawn  to  him,  for  whom  he 
in  turn  cherished  the  sincerest  admiration,  whose  influence  over  him  was  one  of 
maturing  force.  He  painted  his  portrait,  which  afterward  came  into  the  possession 
of  Mr.  Stewart.  The  figure  could  but  be  fine;  the  pose  is  striking  and  martial, 
bending  backward  to  show  every  line  of  the  magnificent  body,  which  wears  a 
large  curved  sabre.  By  action  of  the  Town  Council  Fortuny  was  requested  to  make 
a  second  visit  to  Africa  to  reimpress  his  mind  with  the  locale  and  scenes  of  the 
battle  of  Tetuan. 

The  war  between  Spain  and  Morocco  cut  out  for  him,  as  with  a  sabre  stroke, 
his  future  career.  He  was  then  twenty-three  years  of  age,  thick-set,  of  powerful 
build,  mercurial  temperament,  taciturn,  resolute,  and  drilled  to  exertion.  His  tarrying 
in  the  East,  which  lasted  from  five  to  six  months,  was  a  revelation  and  a  revel.  He 
had  never  seen  such  light,  such  feasts  of  color,  such  figure  compositions.  It  was 


here  that  he  courted  the  sun  and  won  him  to  the  disclosure  of  his  radiant  mysteries. 
When  the  Emperor  of  Morocco  arrived  with  his  dashing  suit  to  sign  the  treaty  of 
peace,  Fortuny  was  like  a  man  driven  to  fever  by  the  greatness  of  his  opportunities. 
His  hand  flew  over  the  pages  of  his  note-book  with  lightning  celerity. 

What  he  was  sent  to  Algiers  to  do  he  never  really  did,  but  he  did  other  things 
of  far  greater  import.  While  the  commission  of  the  Academy  of  Barcelona  remained 
half  finished,  and  was  in  that  state  on  his  studio  wall  when  he  died,  he  filled  his 
mind  with  a  series  of  magnificent  themes,  which  in  after  years  came  to  a  perfect 
realization  under  his  brush.  Among  these  we  find  the  stalls  of  the  Moorish  carpet 
sellers  filled  with  the  tumult  of  barter,  the  weary  old  Arabs  sitting  in  the  sun,  and 
the  pensive,  sombre  faces  of  snake  charmers. 

He  addressed  himself  to  etching  and  engraving,  varying  his  eye  with  water 
colors  of  such  virility  as  to  rival  works  in  oil.  Fortuny’s  handicraft  was  something 
remarkable.  He  modeled  splendid  vases  and  decorated  them  with  the  shimmering 
tones  of  Hispano-Moresque;  he  wrought  in  metals,  inlaying  them  with  delicate 
designs  of  gold;  he  forged  a  famous  sword  with  an  ivory  hilt,  worthy  of  the 
battle-belt  of  a  Moorish  king.  In  the  autumn  of  1866  he  went  again  to  Paris  and 
found  friends  in  Rico,  Ferrandez,  and  Zamacoi's.  The  last  introduced  him  to 
M.  Goupil,  who  at  once  gave  recognition  to  his  talent,  and  started  for  him  a  credit  of 
24,000  francs  per  year.  He  returned  to  Madrid  to  arrange  for  his  nuptials  with  the 
daughter  of  M.  Madrazo.  May,  1868,  brought  him  again  to  Rome.  Here  he 
steadily  devoted  himself  to  his  great  theme,  “A  Spanish  Marriage.”  In  this  canvas 
and  one  other,  “The  Choice  of  a  Model,”  Fortuny’s  gifts  found  their  highest  mani¬ 
festation.  Great  men  have  sunbursts  of  expressional  power,  when  talent  is  exalted 
into  genius  and  when  genius  glows  with  the  afflatus  of  an  unearthly  inspiration. 
Such  was  Delacroix’s  “Centaur  Training  the  Young  Achilles,”  Rousseau’s  “  Le 
Givre,”  and  Millet's  “Sheepfold  by  Moonlight.” 

In  1870  Fortuny  went  to  Granada  to  live,  and  installed  himself  at  the  Fonda 
de  los  Siete  Suelos,  on  the  same  hill  as  the  Alhambra,  a  short  walk  from  the  ancient 
palace  of  the  Moorish  kings.  The  quiet  of  the  place,  which  had  so  charmed  Henri 
Regnault,  fascinated  him.  He  counted  the  years  spent  there  the  sunniest  of  his  life, 
writing  to  M.  Simonetti  : 

“  Figure  to  yourself  the  Villa  Borghese  on  the  summit  of  a  mountain,  sur¬ 
rounded  by  Moorish  towns,  and  in  the  midst  the  most  beautiful  Arab  palace,  the 
elegance  and  ingenuity  of  ornament  so  great  that  the  walls  seem  to  be  covered  with 
guipure  lace  !  No  suffering  from  heat,  and  one  lives  with  such  freedom  that  you 
might  believe  you  were  at  home.” 

As  indicative  of  the  conscientious  method  through  which  Fortuny  sought 
historical  values  for  his  easel,  as  well  as  the  refreshment  he  perpetually  brought  to 
his  eye,  both  in  form  and  color,  several  letters  are  here  opened. 


To  his  comrade,  M.  Rico  : 


Granada,  November  25,  1870. 


Dear  Martin  :  I  am  delighted  to  learn  that  you  feel  inclined  to  come  here.  I 
think  we  can  spend  the  winter  profitably.  We  can  paint  courtyards  and  gypsies, 
when  we  please.  Don’t  trouble  yourself  about  Zamacoi's.  He  will  not  come,  and 
if  he  did  come  he  would  not  stay  two  weeks  in  Granada.  You  know  his  nature. 
This  quiet  and  want  of  bustle  would  not  suit  him.  1  will  trouble  you  to  ask  at  the 
Escurial  Library  for  an  Asiatic  manuscript  of  the  year  1400,  on  the  game  of  chess  ;  it 
is  illuminated  with  miniatures,  certainly  Italian  ;  see  if  it  contains  costumes,  arms, 
and  other  details  suitable  for  paintings  ;  in  case  it  should  1  will  have  copies  made  for  a 
small  picture  I  intend  to  make. 

Thine, 


Fortuny. 


He  was  destined  never  again  to  meet  Zamacoi's,  who  died  suddenly  from  a 
seizure  of  angina  pectoris. 

Granada,  March,  1871. 

s  Fonda  de  los  Siete  Suelos. 

A  Monsieur  le  Baron  Davillier. 

My  Dear  Friend:  I  am  happy  that  nothing  has  happened  to  you  in  the  midst 
of  such  misfortunes.  1  need  not  tell  you  how  anxious  I  have  been  during  the  whole 
war  in  thinking  of  you  ;  am  hardly  at  ease  now,  for  lo  !  the  Commune  again  makes 
me  tremble  for  you.  As  for  me,  I  have  some  pictures  begun,  and  many  planned. 
Granada  is  an  inexhaustible  mine  ;  but  you  know  it  and  I  will  not  dwell  on  it.  I 
have  a  picture  under  way,  and  I  hope  it  will  turn  out  well,  but  it  will  be  by  making 
use  of  you  for  documents  and  details  ;  no  one  at  Paris  can  aid  me  better  in  this 
matter  than  you. 

In  regard  to  objects  of  art  which  1  have  met  with,  I  will  especially  mention  a 
very  fine  manuscript  of  the  fifteenth  century,  ornamented  with  many  well-preserved 
miniatures,  and  of  the  best  style,  with  the  arms  and  portrait  of  the  owner,  etc.  1 
will  have  photographs  of  it  made,  and  send  them  to  you,  that  you  may  give  me 
your  opinion  about  it.  1  have  some  books  on  fencing,  for  Beaumont,  and  a  curious 
note  relating  to  arms  copied  from  a  paper  of  the  fourteenth  century. 

Yours,  Fortuny. 


After  a  long  fight  for  daily  bread,  Fortuny  surprised  Fortune  and  swiftly 
turned  into  an  Oriental  prince,  surrounded  by  masses  of  treasure,  brilliant  stuffs, 
Arabian  war  implements,  glasses  from  Murano,  vases  from  Pekin,  malachite  slabs 
resting  on  gilded  satyrs,  variegated  marbles,  and  old  tankards.  There  were  four 
prime  factors  in  the  sum  of  Fortuny’s  life  —  Gavarni,  the  war  in  Morocco,  Cecilia  de 
Madrazo,  and  his  blessed  patron,  Mr.  William  H.  Stewart.  Under  these  four  captions 
one  could  write  his  entire  history. 

In  the  autumn  of  1873  Fortuny  changed  his  residence  from  the  small  house  in 
the  Via  Gregoriana  to  a  villa  with  surrounding  gardens  in  the  suburbs  of  the  city. 
His  studio  adjoining  offered  space  for  the  display  of  splendid  fabrics,  his  faiences  with 
sheens  of  gold,  his  ancient  arms,  and  all  his  wealth  of  art  objects,  bronzes,  and  precious 
inlaid  metals.  A  friend  tells  us  “that  he  was  petted  and  flattered  by  everybody." 


Notwithstanding  that,  he  was,  as  he  said,  “worried  without  knowing  why.”  Was  it 
a  presentiment  ? 

A  projected  visit  to  London  occurred  the  first  of  June,  and  was  prolific  of 
inspirations.  Here  he  met  Millais,  who  welcomed  him  most  cordially  and  exacted  a 
promise  of  his  return  the  following  year.  “  I  have  so  many  souvenirs  in  my  head,  it 
will  take  me  months  to  think  it  all  out,”  he  said.  He  left  Paris  for  Rome,  June  15th, 
accompanied  to  the  Lyons  station  by  his  brother-in-law,  Raymundo,  and  Baron 
Davillier,  who  embraced  him,  far  from  thinking  that  they  should  never  see  his  face 
again.  The  fatal  fever  from  which  he  suffered  in  1869,  returned  with  complications. 
He  died  November  2 1,  1874,  at  six  o’clock  in  the  evening,  suffocated  by  vomiting 
blood.  The  personality  of  Fortuny  has  won  a  widening  recognition,  achieving  a 
renown  that  must  forever  place  him  in  front  of  the  leading  line  of  the  artists  of  his 
century.  Out  of  the  large  group  of  those  who  have  done  him  honor,  we  choose  a 
few  voices  to  form  a  symposium  upon  his  character  and  his  art. 

The  Baron  Davillier  speaks:  “Fortuny  was  above  middle  height,  robust  in 
appearance  ;  the  frankness  and  truthfulness  of  his  character  were  reflected  in  his 
face,  which  was  both  handsome  and  sympathetic.  He  had  a  horror  of  etiquette 
and  ceremony,  and  his  natural  timidity  made  him  reserved,  one  might  almost  say 
a  little  rough,  with  those  whom  he  knew  not  intimately,  showing  himself,  on  the 
contrary,  very  genial  with  those  he  loved,  avoiding  trivial  talk  and  giving  a  serious 
turn  to  conversation.  Surrounded  by  numerous  flatterers,  he  distinguished,  with 
extraordinary  tact,  true  and  disinterested  friends  from  egotists,  speculators,  and  false 
brothers  in  art.  As  for  him,  he  was  the  truest  and  most  devoted  friend  a  man 
could  find  ;  he  despised  envy  and  never  descended  to  a  feeling  so  base. 

“Fortuny  had  for  music  a  very  correct  taste.  Mozart  and  Beethoven  were  the 
masters  he  most  admired.  He  loved  reading  much,  especially  the  Latin  historians 
and  poets.  His  passion  for  curiosities  is  known.  His  collection,  had  he  lived, 
would  soon  have  become  one  of  the  most  remarkable  in  Europe.  His  manual 
dexterity  was  marvelous,  as  the  Moorish  sword  forged  by  him  shows,  of  which  the 
handle,  inlaid  with  silver  and  carved  in  ivory,  equals  the  most  beautiful  ancient 
work.  1  have  not  the  knowledge  necessary  to  judge  of  the  talent  of  Fortuny. 
Every  one  knows  that  his  individuality  was  very  marked.  If  he  had  many  imitators, 
it  can  be  said  he  never  sought  to  imitate  any  one.” 

We  listen  to  M.  Theophile  Gautier  in  his  official  journal  of  May,  1870  : 
“  The  name  which  has  been  oftenest  spoken  for  the  past  four  months  in  the  world 
of  art  is  surely  that  of  Fortuny.  One  question  never  failed,  when  artists  and 
amateurs  met — ‘Have  you  seen  Fortuny’s  paintings?’  For  Fortuny  is  a  painter  so 
marvelously  original,  of  finished  talent,  sure  of  himself,  although  the  artist  was  barely 
within  the  age  of  a  competitor  for  the  Prix  de  Rome.  The  traveled  artists,  and  the 
students  who  came  back  from  the  Villa  Medici,  speak  most  highly  of  a  young  man 


admirably  gifted,  whom  they  consider  of  great  force,  working  at  Rome  in  a  fantastic 
way,  beyond  all  influence  of  schools.  But  the  foreign  name  they  mentioned,  unsup¬ 
ported  by  any  work,  was  not  remembered.  The  ‘Spanish  Marriage,’ the  ‘Serpent 
Charmer’ — easel  paintings;  the  ‘Carpet  Seller  in  Morocco,’  the  ‘Cafe  of  the 
Swallows,’  ‘The  Kief’ — water  colors,  of  a  strength  of  tone  that  compete  with  oil, 
give  an  incontestable  value  to  the  name  of  Fortuny,  and  prove  that  the  reports 
about  him  have  not  at  all  been  exaggerated.” 

Prof.  John  C.  Van  Dyke,  in  an  able  review  of  this  collection,  prominently 
marks  Fortuny  :  “There  be  artists  who  have  harped  on  one  note  their  life  long,  but 
Fortuny  was  not  one  of  them.  His  was  not  a  labored  versatility,  but  a  spontaneous 
and  natural  outburst.  What  others  did  by  virtue  of  stubborn  will,  he  apparently  did 
with  the  strength  and  ease  of  genius.  And  how  irresistible  his  few  effective  brush¬ 
strokes  raise  in  us  the  sense  and  feeling  of  power!  One  night  a  dispute  arose  among 
some  friends  as  to  the  position  of  a  certain  square  in  a  Spanish  city.  Fortuny  took 
a  stick,  wrapped  around  the  end  of  it  some  frayed  linen,  mixed  some  ink  and  water 
together  in  a  saucer,  and  upon  some  ordinary  wrapping-paper  drew  the  square, 
buildings,  people,  sky,  air,  and  all  ;  and  to-day  it  hangs  in  Mr.  Stewart’s  gallery  as 
effective  a  ‘black  and  white’  as  one  would  care  to  look  upon.” 

M.  Henri  Regnault  :  “I  have  seen  some  of  Fortuny’s  studies,  which  are 
prodigies  of  color  and  bold  painting.  Ah  !  what  a  painter  that  boy  is  !  1  have 
also  seen  two  ravishing  eaux-fortes  by  him.  His  pupil,  Simonetti,  who  works  in 
his  studio,  has  shown  me  some  charming  things  now  under  way.  Two  fine  fel¬ 
lows,  and  how  well  they  get  on  !  What  skill— how  pleasing  in  color — what  true 
genius — what  spirit  in  the  touch  ! 

“Day  before  yesterday  1  passed  the  whole  day  with  Fortuny,  and  that  has 
broken  my  arms  and  legs — he  is  wonderful,  that  fellow  !  What  marvels  are  in  his 
house  !  He  is  master  of  us  all.  If  you  could  see  the  two  or  three  pictures  he  is  now 
finishing,  and  the  water  colors  he  has  recently  completed  !  !  !  It  is  that  which 
disgusts  me  with  mine— oh,  Fortuny  !  I  can’t  sleep  for  you  !  I  am  not  proud  ; 
Fortuny  makes  me  pale  with  fear.  I  can  no  longer  see  what  I  have  done  or  what 
I  am  doing.  Look  how  a  water  color  should  be  painted — what  color,  what  charm, 
what  drawing  !  Long  live  Spain — long  live  the  East — long  live  Fortuny — immortality 
for  Fortuny  !  ” 

M.  Thomas  Couture  :  “Oh,  the  beautiful  things.  I  dreamed  of  them  all  night. 
They  are  the  life,  the  light,  the  budding  of  spring,  the  colors  with  which  God  has 
painted  the  flowers.  It  is  not  painting,  it  is  not  work,  it  is  not  human.  All  sparkles 
with  sunshine  and  genius  ;  all  is  transformed  by  a  magic  prism.  The  vulgar  becomes 
poetic,  and  satire  amiable.” 

M.  Charles  Yriarte  :  “In  his  genre  he  was  the  head  of  a  school.  Endowed 
with  a  profound  talent  for  manipulation,  he  created  the  ecole  de  la  main  (school  of 


the  hand).  His  science,  united  with  a  certain  charm  to  which  every  one  yielded  ; 
his  love  of  light,  his  worship  of  the  sun,  and  a  unique  something  in  the  choice,  the 
idea,  and  the  rendering  of  his  subjects,  made  for  him  a  reputation  which  was  legiti¬ 
mate.  Fortuny  has  many  imitators,  but  the  majority  of  them  fail  to  represent  in 
their  works,  as  he  did,  the  character — the  soul  of  things.” 

We  pause  for  a  moment  ere  we  give  audience  to  the  voice  of  one  who  did 
more  to  shape  the  triumphant  course  of  Fortuny  than  any  other,  whose  cheer  and 
strengthening  sympathy  passed  like  a  sea  breeze  through  the  lungs  of  a  tired  man, 
whose  tact  and  steadfast  friendship  braced  the  ambitions  and  gave  fresh  impulses  to 
the  ideals  of  this  magician  of  art.  We  refer  to  Mr.  William  H.  Stewart,  of  Phila¬ 
delphia,  the  first  American  patron  of  Fortuny.  We  prelude  his  testimony  with  a 
letter  which  reveals  his  relations  with  the  rising  young  men  of  his  time.  This 
letter  was  penned  after  Mr.  Stewart  himself  had  passed  into  the  silence  of  the  eter¬ 
nities.  It  is  from  M.  Martin  Rico  to  M.  Montaignac,  of  Paris,  the  distinguished 
connoisseur  : 

Dear  Friend  :  It  was  about  1867  that  1  made  the  acquaintance  of  Mr.  Stewart. 
He  immediately  ordered  two  landscapes  of  me,  although  1  was  then  absolutely 
unknown.  Since  that  time,  whenever  1  returned  from  my  travels,  the  first  visit  1 
received  was  from  him  and  from  my  friend  Madrazo,  the  two  persons  who  took  the 
deepest  interest  in  me. 

Although  people  may  say  that  1  am  not  disinterested  in  the  matter,  I  take  great 
pleasure  in  stating  that  I  have  never  known  a  connoisseur  more  intelligent  than  Mr. 
Stewart  and  more  untiring  in  seeking  good  pictures  without  ever  considering  the 
price.  He  had  great  influence  at  that  time  for  the  Spanish  painters.  The  dealers 
hesitated  in  the  selection  of  artists  and  the  price  to  pay  them,  and  it  was  he,  with  his 
delicate  taste  and  correct  eye,  who  discovered  painters  and  interested  himself  in  them. 

He  certainly  was  the  greatest  power  at  that  moment  in  the  artistic  market 
of  Paris. 

I  lost  in  Mr.  Stewart  a  friend,  a  protector,  and  almost  a  father.  He  made  his 
house  ours,  and  I  owe  my  position  in  great  part  to  him.  His  greatest  pleasure  was 
the  society  of  artists,  and  what  I  say  for  myself  may  be  said  also  for  Fortuny,  Madrazo, 
Zamacois,  and  many  others.  He  was  the  type  of  the  most  perfect  caballero  whom  1 
have  ever  known,  and  you  need  only  look  at  the  collection  of  letters  which  the  artists 
have  written  to  him  to  be  convinced  of  this.  His  gallery  of  pictures  will  show  the 
world  more  than  1  can  say. 


Mr.  Stewart,  writing  to  Baron  Davillier,  says  :  “1  heard  of  Mariano  Fortuny 
for  the  first  time  in  January,  1868,  through  Edward  Zamacois,  the  much  lamented 
and  talented  artist,  who  died  at  Madrid,  January  12,  1871,  at  the  early  age  of 
twenty-nine. 

“He  it  was  who  took  me  to  the  Messrs.  Goupil  &  Co.,  No.  9  Rue  Chaptral, 
Paris,  to  see  some  ten  very  fine  water  colors,  and  pen-and-ink  drawings,  just 
received  from  Rome,  with  Fortuny’s  signature.  Four  of  these  were  immediately 
secured  by  me  at  a  very  modest  price,  and  two  or  three  months  later  Zamacois 


brought  me  word  from  these  dealers  that  they  had  an  oil  painting  by  Fortuny,  and 
I  must  at  once  go  with  him  to  see  it. 

“We  started  on  the  instant,  and  found,  at  the  Rue  Chaptral,  the  ‘Fantasia 
Arabe.’  My  companion  went  into  ecstasies,  calling  it  ‘a  pearl,’  ‘jewels,’  etc.,  at 
the  same  time  whispering  to  me  to  buy  it,  and  not  to  let  it  slip  at  any  price.  The 
sum  named  was  comparatively  trifling,  and  this  fine  work  became  mine. 

“I  then  determined  to  visit  Rome  and  make  the  acquaintance  of  Fortuny, 
and  in  December,  1868,  induced  Zamacoi's,  our  common  friend,  to  join  me,  telegraph¬ 
ing  the  artist  in  advance  to  engage  rooms  for  us.  I  took  with  me  a  little  painting 
by  Meissonier,  entitled  ‘Suite  d’un  Jeu  des  Cartes,’  as  Fortuny  had  requested  his 
brother-in-law,  Madrazo,  1  should  do,  having  seen,  up  to  that  time,  only  photographs 
of  this  great  master’s  works. 

“On  our  arrival  in  the  Eternal  City  we  found  him  awaiting  us  at  the  railway 
depot,  and  were  then  conducted  to  the  apartments  he  had  engaged  for  us  on  the 
Corso,  not  far  from  his  own  residence.  His  reception  of  me  was  extremely  cordial, 
frank,  and  open,  for  which,  doubtless,  I  was  indebted  to  Zamacoi's,  of  whom  he  was 
very  fond.  He  soon  took  me  into  his  intimate  friendship,  which  terminated  only 
with  his  death. 

“  In  person,  Fortuny  was  the  beau  ideal  of  an  artist,  in  the  full  vigor  of  youth, 
with  the  build  and  strength  of  an  athlete,  and  rather  above  the  medium  height.  His 
head,  perhaps,  was  a  little  too  large,  but  highly  intellectual,  and  covered  with  a 
profusion  of  dark-brown  curly  hair,  and  his  eyes  were  a  clear  violet  color,  having 
a  most  anxious,  inquiring  expression.  In  manner  he  was  quiet  and  serious,  but  of 
an  affectionate,  gentle,  and  most  generous  nature.  Simply  because  1  had  complied 
with  his  modest  request,  in  taking  with  me  to  Rome  the  little  Meissonier  painting 
mentioned  above,  he  painted  for  me  an  aquarelle,  called  ‘An  Arab  Street,’  dedicated 
it  to  me  as  his  friend,  and  it  is  now  considered  one  of  the  finest  gems  in  my  collec¬ 
tion.  Henri  Regnault  served  as  a  model  for  its  principal  and  central  figure.  He 
obtained  for  me  also  another  beautiful  water  color,  which  was  nearly  finished  and 
on  his  easel,  having  been  painted  for  d’Epinay,  the  French  sculptor.  This,  and  the 
‘Arab  Street,’  1  carried  back  in  my  trunk  to  Paris,  and  would  have  been  pleased 
to  have  taken  everything  he  had. 

“  The  ‘  Vicaria,’  or  ‘  Spanish  Marriage,’  was  begun.  1  was  not  able  to 
get  it,  as  he  was  under  contract  to  the  Goupils,  but  he  promised  to  finish  the 
‘Academicians  Choosing  a  Model,’  which  I  gladly  accepted  in  its  stead,  and  have 
congratulated  myself  ever  since  on  its  acquisition. 

“Some  of  the  incidents  of  our  stay  in  Rome  will  tend  to  prove  the  admiration 
in  which  he  was  held  by  those  eminent  artists,  Zamacoi's  and  Regnault.  The  latter 
asked  him  why  he  never  exhibited  in  the  Paris  Annual  Salon,  and  he  replied  :  ‘  I 
have  never  anything  worth  the  showing,  and  1  am  not  a  Frenchman  ;  but  why  don’t 


you?’  ‘I  have  nothing,’  answered  Regnault.  ‘Then,’  said  Fortuny,  ‘go  and  ask 
d’Epinay  for  the  head  you  gave  him  ;  it  is  excellent.  You  can  add  some  canvas, 
and  make  a  capital  picture.’ 

“  Regnault  took  his  advice,  got  the  head  and  carried  it  to  Spain,  and  the  result 
was  the  now  celebrated  painting,  known  as  ‘Salome,’  which  he  exhibited  the 
following  year,  with  his  portrait  of  General  Prim. 

“One  day,  while  we  were  in  his  studio  watching  him  at  work,  he  asked 
Zamacoi's  to  paint  something  for  him  as  a  souvenir  of  his  visit.  ZamacoTs  began  at 
once  on  a  small  panel  the  figure  of  ‘Arlequino,’  Fortuny’s  favorite  man  model,  and 
after  working  three  or  four  hours  and  scratching  out  as  many  times,  he  gave  up  in 
despair,  threw  the  little  board  into  a  corner,  and  said  to  me:  ‘Don  Guillermo,  no 
puedo  mas!’  (I  cannot  do  any  more.)  We  went  into  the  garden,  and  Zamacoi's 
exclaimed  :  ‘  1  can  now  breathe  freely,  but  1  cannot  do  so  where  Mariano  paints  ! 
He  absorbs  all  the  light,  color,  and  air  ;  in  fact,  he  is  enough  to  disgust  one  with  one’s 
own  work,  for  he  is  the  only  one  who  can  paint  !  ’ 

“On  this  same  garden  opened  the  studios  of  Moragas  and  the  Duchess  Cas- 
teglione  Colonna.  The  latter,  known  in  art  circles  as  Marcello,  the  sculptress,  professed 
the  greatest  admiration  for  Fortuny  and  profited  largely  by  her  proximity  to  his  studio 
and  the  advice  given  therein.  This  may  be  seen-  in  her  bronze  statue  of  a  ‘Fury,’ 
under  the  main  stairway  of  the  Paris  Opera  House. 

“As  stated  by  Davillier,  in  the  spring  of  1870  Fortuny  came  to  the  French 
capital,  and  installed  himself  and  family  in  the  Maison  Valin,  on  the  Champs  Elysees. 
Here  he  finished  the  ‘Vicaria,’  and  his  three  most  important  aquarelles,  ‘The  Reader,’ 
‘The  Turkish  Carpet  Dealer,’  and  the  ‘Torrero.’  While  at  work  on  the  ‘  Vicaria,’  the 
artist  Meissonier  dropped  in  to  see  him,  just  as  he  was  in  need  of  a  suitable  model 
for  a  cavalry  officer,  whom  he  wished  to  introduce  into  the  picture.  Hearing  of  his 
want,  the  great  French  artist  said:  ‘I  am  the  only  man  who  has  the  proper  legs  for 
the  character  you  need,  and  if  you  will  come  out  to  Poissy  1  will  serve  as  your 
model.’ 

“  Fortuny  accepted,  went  to  Poissy,  and  painted  to  the  life  this  wonderful  man. 

I  am  the  happy  possessor  of  this  remarkable  and  curious  portrait  of  Meissonier  by 
Fortuny,  through  the  generosity  of  his  widow,  who  presented  it  to  me  after  her 
husband’s  death.  The  fact  that  Meissonier  served  as  a  model  to  the  younger  painter 
reveals  the  former's  admiration,  and  that  he  was  seriously  impressed  by  this  great 
genius,  cannot  be  doubted. 

“  A  strange  and  sudden  death  occurred  at  the  Maison  Valin  while  Fortuny  was 
staying  there.  Canaveral,  a  friend  of  his,  came  from  Spain  with  about  one  hundred 
old  paintings  and  some  drawings,  and  went  to  the  same  house.  Fortuny,  assisted 
by  Zamacoi's  and  Rico,  endeavored  to  clean  and  arrange  these  paintings  for  exhi¬ 
bition,  so  that  they  might  be  sold  for  the  benefit  of  his  friend,  but  for  a  fortnight  no 


purchaser  appeared.  At  last  a  well-known  dealer  called,  and  fell  dead  while  looking 
at  the  collection,  and  poor  Canaveral  failed  to  effect  any  sales.  If  I  had  not  bought 
from  him  a  very  beautiful  aquarelle,  painted  by  our  artist,  and  doubtless  a  present  to 
his  old  friend,  Canaveral  would  have  been  without  the  means  to  return  home  with 
his  pictures. 

“At  that  time  I  was  residing  in  the  Avenue  d’Jena,  and  1  shall  never  forget  the 
day  of  Victor  Noir’s  burial.  He  had  been  killed  a  few  days  before  by  Prince  Pierre 
Bonaparte,  at  Auteuil.  It  seemed  as  if  the  entire  working  population  of  Paris  had 
turned  out,  dressed  in  clean  blouses,  and  armed  with  implements  of  their  different 
trades,  to  do  honor  to  the  dead,  or  mischief  to  the  living  who  might  oppose  their 
demonstration.  1  started  from  home  about  ten  in  the  morning,  to  go,  with  Zamacols 
and  Fortuny,  on  a  visit  to  Meissonier,  at  Poissy.  We  met  this  crowd  of  ill-disposed 
operatives  marching  toward  Neuilly,  the  residence  of  the  mother  of  the  deceased. 
Returning  to  Paris  at  4.30  p.m.,  we  parted  with  Zamacols  at  the  St.  Lazare  station, 
and  Fortuny  and  I,  taking  a  cab  together,  started  for  our  homes,  but  on  attempting 
to  cross  the  Champs  Elysees,  near  the  Palais  d’Industrie,  we  were  prevented  by  a 
large  body  of  cavalry  and  artillery  which  occupied  the  space  from  the  Rond  Point 
to  the  Place  de  la  Concorde. 

“Facing  this  military  mass  was  another,  of  nearly  100,000  blouses,  filling  the 
Avenue  des  Champs  Elysees  as  far  as  the  Arc  de  Triomphe,  and  far  beyond,  into 
the  Avenue  de  la  Grande  Armee.  Arm  in  arm  they  came  marching  towards  the 
troops,  singing  the  Marseillaise,  and  headed  by  Henri  Rochefort,  who  was  riding 
in  a  cab.  It  appears  that  he  had  fainted  once  or  twice  during  the  day,  from  excite¬ 
ment  or  from  fear  of  failure  in  his  undertaking,  which  was  to  conduct  the  crowd 
past  the  Tuileries  Palace. 

“  We  were,  of  course,  obliged  to  make  a  great  detour,  in  order  to  reach 
our  homes.  This  was  the  beginning  of  the  end  of  the  Second  Empire,  which  was 
overthrown  on  the  4th  of  September  following. 

“  About  this  time  my  wife,  being  anxious  to  have  a  portrait  of  me  by  Fortuny, 
asked  him  to  paint  one.  He  immediately  said  he  would  if  she  would  let  him  have 
his  painting  of  the  ‘Antiquary.’  Taking  this  with  him,  he  obtained  a  photograph 
of  me,  and  a  few  days  later  returned  the  painting  with  my  portrait  introduced,  which 
is  considered  by  artists  and  friends  to  be  a  most  striking  likeness.  This  same  picture 
of  the  ‘  Antiquary  ’  he  had  given,  a  year  or  two  previous,  to  Capo  Bianchi,  the  dealer 
in  Rome,  in  exchange  for  an  Arab  gun  and  a  broken  Venetian  glass,  these  articles 
being  worth  about  200  francs. 

“  Madrazo  and  I  have  often  remarked  that  what  seemed  to  strike  strangers,  on 
entering  Fortuny’s  studio,  was  himself,  more  than  his  work.  The  living  picture  was 
really  interesting  :  one  could  not  fail  to  be  impressed  by  that  fine  intellectual  head, 
with  its  regular  but  expressive  features;  his  appearance  of  full,  vigorous  health,  and  his 


becoming,  careless  dress.  His  wife,  in  the  bloom  of  her  youth  and  beauty,  seated 
by  his  side  and  mending  an  old  piece  of  tapestry  while  he  painted,  lent  a  charm 
to  the  picture,  well  calculated  to  draw  one’s  first  glances  from  even  his  brilliant 
creations. 

“Many  of  his  evenings  were  passed  at  our  house.  He  was  fond  of  music 
and  conversation,  to  both  of  which  he  was  an  attentive  listener,  though  preferring 
often  to  be  drawing,  in  which  he  frequently  indulged  when  with  us.  He  would 
sometimes  take  away  with  him  a  photographic  portrait  of  some  head  or  person 
which  happened  to  strike  his  fancy,  and  copy  it  most  exactly  in  India  ink  or  sepia. 
In  this  way  I  have  the  likeness  of  one  Amos  Foster,  known  at  Torresdale,  Philadel¬ 
phia,  as  ‘  Bos  ’ — copied  so  closely  by  Fortuny  that  it  is  difficult  to  distinguish  it 
from  the  photograph. 

“It  was  about  this  time  that  the  ‘Vicaria’  was  finished  and  upon  its  easel. 
One  day  a  gentleman  called  and,  after  admiring  the  picture  greatly,  said  he  would 
like  to  own  something  by  the  same  artist.  Messrs.  Goyena  and  Madrazo  being 
present,  acted  as  interpreters,  as  Fortuny  could  not  then  speak  French,  and  replied 
that  he  could  not  promise,  as  he  was  under  contract  to  the  Goupils.  The  visitor, 
expressing  much  regret  at  this,  concluded  by  giving  Fortuny  carte  blanche  to  paint 
whatever  he  pleased  for  him  without  regard  to  price,  handed  his  card  to  Goyena, 
and  departed.  Goyena  read  aloud  his  card  : 

“  ‘  Monsieur  Duglairy, 

“  1  Chef  dn  Ca ft!  Anglais.' 

“Fortuny  received  it  as  a  pleasantry,  and  would  not  believe  the  fact  until  he 
had  read  the  card  himself.  The  three  friends,  however,  determined  to  visit  this 
culinary  artist  and  breakfast  at  his  celebrated  cafe  the  following  day.  When  the 
hour  arrived  they  entered  the  dining-rooms  and  said  they  preferred  giving  their 
orders  to  the  chef,  who  shortly  appeared.  Recognizing  the  trio,  he  made  many 
apologies  for  the  manner  in  which  his  art  suffered,  owing  to  the  use  of  mineral 
coal  in  the  economic  cooking-ranges  now  in  use,  but  said  he  would  do  his  best. 
He  gave  them  indeed  a  splendid  repast,  after  which  he  invited  them  to  visit  his 
Japanese  collection,  valued  by  experts  at  more  than  one  million  francs.  And  this  man 
is  the  head  cook,  and  one  of  the  present  proprietors  of  the  Cafe  Anglais  ! 

“  Fortuny  left  Paris  late  in  the  spring  for  Spain,  and  established  himself  and 
family  in  the  Alhambra  at  Granada,  in  company  with  Rico  and  Ricardo  Madrazo. 
Here  he  started  work  on  some  of  his  finest  inspirations.  Little  dreaming  that  we 
should  be  separated  from  Fortuny  for  so  long  a  time  by  the  Franco-Prussian  War, 
we  started  for  Trouville,  where  we  spent  the  months  of  July,  August,  September, 
and  part  of  October.  The  Prussian  lines,  however,  were  extending  in  every  direc¬ 
tion  and  encompassing  the  French,  so  1  deemed  it  prudent  to  take  my  family  to 


Torquay,  England,  where  we  passed  nearly  six  months  agreeably,  occasionally 
hearing  from  Fortuny  and  Rico  through  Zamacoi's  and  Don  Federico  Madrazo,  both 
of  whom  resided  in  Madrid. 

\ 

“On  the  12th  of  January,  1871,  Zamacoi’s  died  in  Madrid,  and  the  sad  news 
was  announced  to  us  by  a  letter  from  his  widow,  dated  three  days  later. 

“  Immediately  after  the  surrender  of  Paris  I  went  over  with  Saintin,  a  French 
artist,  to  the  conquered  capital  for  the  purpose  of  looking  after  my  affairs,  and  three 
or  four  days  after  our  arrival  the  reign  of  the  Commune  began.  We  remained, 
however,  three  weeks  or  more,  until  it  became  too  hot  for  us,  and  then  persuaded 
Madrazo — who  had  passed  through  the  siege,  serving  manfully  in  the  American 
Ambulance — to  return  to  England  with  us,  and  in  April  we  all  moved  to  London. 
A  week  later  Goupil  &  Co.,  who  were  established  in  the  English  metropolis,  sent 
me  word  that  they  had  received  from  Granada  three  paintings  by  Fortuny  and  two 
by  Rico.  We  went  to  see  them,  and  1  bought  two  of  Fortuny’s  and  one  of  Rico’s 
paintings. 

“  When  the  Commune  was  put  down  we  returned  to  France,  entering  Paris 
two  days  after  the  Versailles  or  government  troops  took  possession,  and  were  in 
time  to  witness  the  Tuileries,  the  Hotel  de  Ville,  the  Treasury,  the  Palace  of  the 
Legion  of  Honor,  and  other  buildings,  still  burning,  and  smouldering  in  ruins. 

“  In  the  fall  of  1871,  during  my  absence  in  the  United  States,  Fortuny  sent  two 
oil  paintings  to  the  Goupils.  They  were  bought  by  MacLean,  of  London,  who,  failing 
to  dispose  of  them  without  loss  in  England,  returned  them  to  Goupil  for  sale,  where 
1  found  them  on  my  return,  and  at  once  purchased  both.  It  was  evident  that  the 
British  public  did  not  appreciate  Fortuny,  nor  had  the  French  learned  full  confidence 
in  his  genius,  till  after  his  third  visit  to  Paris,  in  1873.  As  I  was  again  absent  in 
America  at  this  time,  1  had  not  the  pleasure  of  seeing  him  until  the  spring  of  1874. 

“  During  his  stay  at  the  Alhambra  he  worked  hard,  and  in  the  numerous  letters 
I  received  from  him  while  there,  he  expressed  the  greatest  enjoyment  in  his  occupa¬ 
tions,  and  in  the  beauty,  the  quiet,  and  the  climate  of  Granada.  At  times  he  sent  me 
photographs,  and,  again,  pen-and-ink  drawings  of  what  he  had  done  or  was  doing. 
In  this  way  I  was  able  to  order  the  paintings  owned  by  the  Honorable  Mr.  A.  E.  Borie, 
and  Mr.  H.  W.  Gibson,  of  Philadelphia.  Before  leaving  Granada  for  Rome,  he  sent 
a  beautiful  little  oil  painting ‘of  a  fruit-stall,  painted  at  the  Alhambra,  in  which  he 
introduced  his  wife  and  children,  as  a  souvenir  to  Mrs.  Stewart. 

“From  Rome  he  continued  his  intimate  correspondence  with  me,  all  his  letters 
containing  beautiful  sketches  and  drawings,  which  I  have  preserved  most  carefully 
as  marvels  of  art. 

“In  1874,  as  stated  above,  he  came  again  to  Paris,  bringing  with  him  the 
‘Academicians  Choosing  a  Model,’ which  he  painted  for  me;  the  ‘Poet’s  Garden,' 
bought  by  Mr.  Heeren  ;  ‘An  Arab  Horseman,’ and  a  ‘Torso,’  for  Mr.  Errazu  ;  ‘A 


Large  Arab,’  with  a  wonderful  background  of  carpets  ;  ‘A  Lady  in  a  Garden’  ;  ‘The 
Cochinos, ’  a  study  of  flowers,  and  the  ‘Roman  Carnival.’  The  last  three  he  took 
back  to  Italy,  intending  to  keep  them  for  himself.  During  this  last  visit  1  saw  a 
great  deal  of  him,  and  he  left  us,  to  return  to  Rome,  in  good  spirits,  saying  that  he 
was  going  to  paint  to  please  himself  and  not  the  dealers.  He  complained,  however, 
of  his  digestion,  and  was  obliged  to  be  very  careful  in  his  diet,  but  none  of  his 
friends  gave  the  slightest  thought  to  his  complaint. 

“On  Sunday,  the  22 d  of  November,  1874,  Madrazo,  Rico,  and  Saintin  came 
to  breakfast  with  me.  After  we  had  finished,  Madrazo  told  us  he  had  received  a 
telegram  the  night  previous,  announcing  Fortuny’s  illness,  and  asking  him  to 
proceed  to  Rome  immediately,  but  as  the  dispatch  came  too  late  he  was  unable  to 
take  the  express  train  until  that  same  Sunday  evening.  We  all  concluded  Fortuny's 
case  was  desperate,  and  could  only  hope  for  the  best. 

“They  left  me,  but  at  six  in  the  evening  Rico  returned,  sobbing,  scarcely  able 
to  utter  the  words,  ‘  He  is  dead.’ 

“The  truth  is,  he  died  before  the  first  dispatch  was  sent,  as  the  second 
proved,  which  was  sent  simply  to  hasten  Madrazo’s  departure.  This  was  the  end 
of  one  of  the  best  of  men  and  one  of  the  greatest  artists  of  his  time.” 


GAVARNI 


E  are  in  the  presence  of  the  greatest  character  draughtsman  France  has  ever 


“  '  known.  His  family  name,  Guillaume  Sulpice  Chevalier,  is  lost  under  his 
famous  nom  deplume.  Born  in  Paris,  1804;  died,  1866.  Chevalier  of  the  Legion  of 
Honor.  He  played  with  his  pencil  in  childhood,  but  had  attained  his  majority  when 
he  met  M.  Blaisot,  who  gave  him  an  order  for  an  album  of  sketches.  In  1824  he  went 
to  Bordeaux  to  execute  works  for  the  engraver  Adam,  but  soon  broke  with  him,  and 
set  out  for  the  Pyrenees  on  a  walking  tour.  At  Tarbes  he  made  the  acquaintance  of 
M.  Leden,  the  Registrar  of  the  Signal  Service,  who  bore  him  company  on  many  of 
his  excursions.  He  filled  his  book  with  peasants  in  all  phases  of  their  life  and  cos¬ 
tumes.  He  returned  to  Paris  in  May,  1828,  still  busy  with  types,  sketching  con¬ 
stantly,  but  failing  to  earn  money.  It  was  suggested  that  he  should  interview  Susse, 
the  dealer,  and  exhibit  his  water  colors.  Susse  was  willing  to  purchase  his  collection 
on  the  condition  that  he  should  sign  them.  Seizing  a  pen,  he  wrote  “Gavarni,”  and 
from  that  moment  lost  his  baptismal  name.  Gradually  he  gravitated  to  his  real  voca¬ 
tion:  caricature,  the  art  of  the  grotesque  for  purposes  of  satire. 


This  is  preeminently  the  art  of  the  modern  ages."  There  was  small  hint  of  it 
among  the  ancients,  only  three  papyri  of  a  satirical  tendency  being  known  to  exist  in 
Egyptian  archives,  and  these  are  more  droll  than  ironical.  The  Greeks  had  gifts  for 
pictorial  parody,  as  shown  in  antique  vases  sketched  with  burlesque  themes  ;  the 
Romans  put  the  grotesque  into  plastic  expression,  as  seen  in  frescoes  unearthed  at 
Pompeii  and  Herculaneum  ;  but  the  caricaturists  of  the  olden  time  must  be  sought  for 
rather  in  the  poets  and  dramatists  than  among  painters  and  sculptors.  Through  the 
long  dusk  of  the  middle  ages  any  quantity  of  material  was  amassed  for  the  study  of 
the  grotesque,  but  it  was  unvitalized,  without  form,  and  voiceless. 

The  art  of  pictorial  irony  was  born  in  the  birth-pangs  of  the  Renaissance.  It 
is  said  that  the  earliest  genuine  example  (1499)  is  a  comic  gravure  relating  to  Louis 
XII.  and  his  Italian  war.  The  Reformation  in  Germany  led  to  a  full  seeding  for 
satirical  ephemerae.  The  prototypes  of  the  cartoons  that  smirk  from  the  pages  of 
Punch  and  Charivari  are  the  heads  of  Martin  Luther  and  Alexander  VI.  In  England 
the  sixteenth  century  was  innocent  of  this  charge,  the  only  exception  being  a  feeble 
effort  to  show  Mary  Stuart  as  a  mermaid.  The  eighteenth  century  was  preeminently 
the  age  of  caricature,  evidenced  in  the  domain  of  literature  as  in  that  of  art.  Smith, 
Smollett,  and  Fielding,  no  less  than  Hogarth  and  Gillray,  were  expert  in  ironies.  In 
the  hands  of  Gillray  political  caricature  became  almost  epic  in  majesty  of  conception, 
breadth  of  treatment,  and  far-reaching  suggestiveness.  An  English  critic  remarks 
“that  it  is  to  the  works  of  this  man  of  genius  that  historians  must  turn  for  the 
popular  reflection  of  all  the  political  notabilia  of  the  end.  of  the  eighteenth  and  the 
beginning  of  the  nineteenth  century.”  Spain  discovers  an  artist  capable  of  competing 
with  the  English  group  in  the  works  of  Francis  Goya,  which  are  described  by  Theo- 
phile  Gautier  as  a  mixture  of  Rembrandt,  Watteau,  and  the  comical  dreams  of  Rabelais. 
Champtleury  discerns  analogies  between  him  and  Honore  Daumier,  the  greatest 
caricaturist  of  modern  France. 

Daumier  was  ideal  in  carrying  a  single  character  through  a  series  of  pictures, 
showing  with  each  some  fresh  travesty  ;  such  were  Robert  Macaire,  Bertrand,  and 
Ratapoil.  In  one  he  shows  the  country  politician  canvassing  for  votes,  seeking,  as 
usual,  to  save  the  people.  Mr.  Henry  James  thus  uncovers  this  admirable  page:  “A 
sordid  but  astute  peasant,  twirling  his  thumbs  on  his  stomach  and  looking  askance, 
allows  the  political  adviser  to  urge  upon  him  in  a  whisper  that  there  is  not  a  minute 
to  iose — to  lose  for  action,  of  course — if  he  wishes  to  keep  his  wife,  his  house,  his  field 
his  heifer,  and  his  calf.  The  canny  skepticism  in  the  ugly,  half-averted  face  of  the 
typical  rustic,  who  considerably  suspects  his  counselor,  is  indicated  by  a  few  masterly 
strokes.  This  is  what  the  student  of  Daumier  recognizes  as  his  science,  or,  if  the 
word  has  a  better  grace,  his  art.  It  is  what  has  kept  life  in  his  work  so  long  after  so 
many  of  the  occasions  of  it  have  been  swept  into  darkness.” 

Journalism  and  caricature  were  often  workers  in  the  same  field  up  to  1845,  but 


the  alliance  was  uncertain  and  brief.  It  became  the  mission  of  Charles  Philipon,  the 
peculiar  and  emphatic  exploiter  of  comic  journalism,  to  make  it  lasting.  La  Carica¬ 
ture,  founded  by  Philipon  in  1831,  and  suppressed  in  1833,  was  followed  by  La 
Charivari.  It  is  here  that  we  find  Gavarni,  who  brought  modern  social  caricature, 
in  its  present  guise,  to  a  perfect  expressional  form. 

The  Commune  was  a  forcing  process  for  the  production  of  artists  of  this  school 
who  were  well  endowed  with  both  ability  and  bitterness.  Gavarni  ranks  foremost 
among  these  pictorial  satirists.  The  years  between  1840  and  1847  may  be  taken  as  his 
best  period.  As  a  recorder  of  the  manners  of  his  time,  he  produced  work  possessing 
the  purest  qualities,  with  such  seriousness  of  aim  as  to  insure  it  permanent  place 
and  consideration.  He  was  the  mate  of  Balzac;  his  peer  in  power  and  his  intimate 
friend.  Any  effort  to  pass  in  review  Gavarni’s  artistic  record  would  be  wearisome. 
The  following  are  a  few  of  his  examples  that  have  found  enthusiastic  appreciation: 
“The  Impostures  of  Women  in  Some  Matters  of  Sentiment,”  “Dreams,”  “The 
Muses,”  “  Lessons  and  Counsels,”  “  The  Martyrs,”  “  The  Students  of  Paris,”  “The 
Terrible  Children,”  “Masks  and  Visages.” 


JEAN  LEON  GEROME 


VERY  official  honor  that  can  fall  at  the  feet  of  a  great  artist  in  France  has  fallen 
'  to  Leon  Gerome.  He  has  been  a  Commander  of  the  Legion  since  1878,  a 
member  of  the  Institute  since  1875,  a  professor  of  the  Ecole  des  Beaux  Arts  since 
1863. 

The  Medal  of  Honor  has  been  given  to  him  twice.  His  creations  are  dis¬ 
tributed  throughout  the  museums,  public  galleries,  and  great  private  collections  of 
the  world.  He  has  a  cabinet  filled  with  decorations  in  bronze  and  gold.  Gerome 
was  born  in  the  Haute-Saone,  at  Vesoul,  on  the  nth  day  of  May,  1824. 

He  won  his  first  medal  in  the  Salon  of  1847  by  “The  Fighting  Cocks.” 
While  he  was  executing  this  picture  he  said  to  Delaroche  :  “I  try  to  paint  honestly, 
clinging  to  nature,  but  I  am  still  unskillful  ;  it  is  flat  and  thin.”  “Yes,”  his  master 
responded,  “you  are  right,  but  there  are  originality  and  style.'  You  will  do  better 
later  ;  in  the  meantime  do  not  be  anxious  ;  exhibit  your  picture — exhibit  it.  It  will 
do  you  honor.”  His  picture  was  “skied.”  Nevertheless  the  near-sighted  Gautier 
managed  to  discover  the  “Cock  Fight,”  and  the  day  following  wrote  in  the  columns 
of  La  Presse :  “Let  us  mark  with  white  this  lucky  year,  for  unto  us  a  painter  is 


born.  He  is  called  Gerome.  1  tell  you  his  name  to-day,  and  to-morrow  it  will  be 
celebrated.” 

He  was  the  pupil  of  Delaroche,  whom  he  followed  to  Rome  half  a  century 
ago.  He  visited  Russia  and  Egypt,  finding  in  the  latter  a  wealth  of  suggestion  for 
his  brush.  It  was  not  in  the  studies  of  his  first  visit  to  Egypt  that  he  disclosed  his 
real  power.  These  are  superficially  captivating  and  of  easy  translation  through  the 
average  conventional  keys  found  in  Orientalism.  Edmond  About  was  not  astray 
concerning  this  period  of  Gerome’s  work  when  he  said  :  “His  views  in  Egypt  are 
interesting,  apart  from  the  merit  of  execution,  which  is  little.  One  finds  in  them 
neither  a  very  profound  study  of  form,  nor  a  very  active  feeling  of  strength,  nor  a 
very  passionate  love  of  color.”  The  public  differed  from  About’s  judgment,  and 
crowded  to  see  these  productions.  It  was  at  this  time  that  Gerome  hung  his 
“Duel  After  a  Masked  Ball.”  Few  pictures  have  become  so  familiar  to  the  popular 
eye.  The  artist  has  coldly  taken  his  theme  and  rendered  it  with  fearful  force.  He 
reveals  the  weight  of  the  invisible  tiger  of  remorse  already  bending  the  shoulders 
of  the  victor  as  he  goes  away  into  the  ghastly  dawn.  The  central  figure  of  the 
lifeless  Pierrot,  the  victim  of  that  encounter,  is  beyond  criticism.  The  man  has 
not  swooned;  he  is  not  dying — he  is  dead.  The  “Death  of  Caesar”  might  be  placed 
as  a  pendant  to  the  “Duel.”  It  has  been  said  that  in  Gerome’s  initial  draft  for  this 
canvas  the  body  of  Caesar,  lying  prostrate  before  the  statue  of  Pompey,  was  the  only 
figure  in  the  deserted  hall,  while  bloody  footprints,  intermingled  and  confused, 
leading  toward  the  door,  alone  told  of  the  flight  of  the  murderers.  Should  this 
gossip  be  true  the  artist  marred  his  tragic  story  by  massing  gesticulating,  fleeing 
senators  in  the  background,  and  spoiled  the  stern  simplicity  of  his  original  conception. 
Art  may  be  greater  in  what  it  suggests  than  in  what  it  plainly  tells. 

Gerome  exhibited  in  1 8^5  “  Le  Siecle  d'Auguste.”  He  seeks  to  embrace  in 
one  vast  canvas  the  reign  of  Augustus,  which  was  the  culmination  of  pagan  history. 
From  this  apex,  civilization  slowly  declines  into  the  deepening  shadows  of  the  middle 
ages.  Alfred  Tanouarn,  in  i860,  thus  paragraphs  the  picture:  “  Augustus  is  on  his 
throne,  overlooking  the  scene.  Near  him  is  stationed  a  young  man  virile  in  form, 
a  symbolic  image  of  the  genius  of  Rome.  At  the  right  of  the  prince  are  the  political 
notabilities  of  the  epoch,  on  his  left  the  artists  and  poets.  Farther  away,  upon  the 
lower  steps  of  the  temple,  lies  the  body  of  the  assassinated  Caesar,  before  which 
Cassius  and  Brutus  are  standing  erect,  the  former  holding  a  dagger  ;  opposite,  the 
dead  bodies  of  Cleopatra  and  Antony  are  thrown  upon  each  other ;  below,  on  both 
sides,  the  conquered  people  seem  to  be  adoring  the  majesty  of  triumphant  Rome. 
Finally  are  seen  the  infant  Jesus,  Mary,  and  Joseph — a  mystic  group  that  an  angel 
covers  with  its  wings.  This  is  an  intermediate  work  between  history  and  allegory.” 
It  is  manifest  that  the  artist’s  purpose  was  to  show  the  power  by  which  revolutions 
were  to  turn  the  world  through  the  gates  of  new  horizons  ;  the  power  was  the 


Christ-child  shielded  by  wings.  This  painting  gained  for  Gerome  the  red  ribbon. 
Soon  after  he  started  again  for  Egypt. 

Writing  to  a  friend,  he  says  :  “Probably  among  my  ancestors  a  Bohemian 
must  have  slipped  in,  for  1  have  a  nomadic  tendency  and  the  bump  of  locomotion.” 
He  saw  Egypt  with  fresh  eyes  and  matured  mind.  When  we  study  the  output  of 
this  second  journey  into  the  Nile  valley,  we  are  conscious  of  coming  face  to  face 
with  history,  tabulated  with  rare  precision  and  strength.  At  the  close  of  the  Salon 
of  1874  he  obtained  the  Grand  Medal  and  touched  a  prime  which  has  since  simply 
refused  to  wane.  In  the  Universal  Exhibition  at  Paris  in  1878,  Gerome  uncovered 
his  hand  as  a  sculptor.  His  “  Combat  of  the  Gladiators”  obtained  wide  recognition 
and  emphatic  praise.  It  is  said  that  when  he  has  “failed  to  find  any  detail  of  armor 
or  costume  that  was  necessary  to  finish  his  work  he  would  leave  the  Boulevard  de 
Clichy  for  the  Naples  Museum,  make  sketches  there  of  what  he  desired,  and  return¬ 
ing  to  his  atelier  by  the  express  train,  continue  his  labor  and  reinstall  himself  before 
his  group  in  clay,  that  had  not  hardened  during  this  rapid  journey  to  Italy.” 

Fifteen  years  ago  it  was  the  privilege  of  the  writer  to  meet  him  in  his  splendid 
studio.  The  picture  known  as  “The  Two  Majesties”  was  on  an  easel.  A  lion  with 
lifted  front,  from  a  projecting  rock,  across  leagues  of  landscape,  calmly  faced  the 
rising  sun.  It  was  impossible  to  restrain  the  inward  whisper:  “  Here  are  not  two, 
but  three  majesties — the  lion,  the  sun,  and  Gerome  ;  the  last  having  on  his  brow 
the  flash  of  a  triple  crown.” 


EDWARD  JOHN  GREGORY 


HIS  artist  recalls  the  note  struck  by  Alfred  Parsons  in  English  landscape  work. 


1  He  has  produced  portraits  of  quiet  charm  and  attained  significant  regard  from 
connoisseurs.  He  was  born  in  Southampton,  1850.  First  studied  in  the  South¬ 
ampton  and  then  at  the  South  Kensington  art  schools,  subsequently  in  the  Ecole 
des  Beaux  Arts.  Carolus  Duran  was  his  master.  He  is  a  member  of  the  Institute 
of  Painters  in  Water  Color,  and  was  made  an  A.  R.  A.  in  1883.  He  is  repre¬ 
sented  here  by  an  interesting  example  in  black  and  white,  “The  War  in  the  East.” 


HENRI  HARPIGNIES 


X  TE  confront  a  passionate  lover  of  art  in  Henri  Harpignies.  His  birthplace  was 
'  '  Valenciennes  ;  his  advent  July  28,  1819.  Equally  in  oil  and  water  colors 
he  has  taken  highest  rank.  He  studied  with  Achard,  visited  Italy,  and  made  his 
manners  to  the  Salon  in  1853,  since  which  date  he  has  exhibited  regularly.  His 
“Evening  in  the  Roman  Campagna  ”  received  a  medal  in  1866,  which  was  so 
cordially  granted  that  it  repaired  somewhat  the  neglect  of  the  year  preceding.  This 
picture  is  at  the  Luxembourg.  He  was  medaled  in  1868  and  1869  ;  second  class, 
1878  ;  Legion  of  Honor,  187s  ;  Officer,  1883.  Harpignies  came  of  a  wealthy  family 
of  merchants,  who  restrained  his  tendency  to  art.  He  was  twenty-seven  years  old 
when  he  appeared  in  the  studio  of  Achard,  who  was  the  dignified  embodiment  of 
academic  methods.  Upon  a  certain  occasion,  after  searching  far  for  picturesque 
views,  both  found  themselves  in  the  magnificent  valley  of  Cremieux.  '  Achard  told 
his  pupil  that  he  did  not  care  to  have  him  undertake  a  number  of  studies  ;  that  two 
would  be  sufficient — an  effect  of  growing  day  and  another  of  evening  lights.  Har¬ 
pignies  began,  and  had  one  well  advanced.  The  interpretation  was  of  remarkable 
sincerity,  but  a  slight  limitation  awaited  his  gifts.  In  a  corner  of  the  landscape 
was  a  group  of  small  trees,  the  rare  foliage  of  which  seemed  like  frosted  lace  blown 
about  by  the  wind.  The  hand  of  Harpignies  lacked  the  lightness  required  for  the 
rendering  of  such  a  delicate  subject.  For  eight  days  he  struggled,  rubbed  out,  began 
again  and  again,  only  to  efface  his  efforts.  On  the  ninth  day  he  said  to  himself 
that  the  trees  did  not  stand  for  any  important  value  in  his  landscape,  so  he  quietly 
suppressed  them  behind  a  tint  of  azure.  After  this  deed  he  returned,  satisfied  at 
having  given  a  lesson  to  Nature.  But  he  had  calculated  without  his  master.  When 
Achard  came  to  inspect  his  work,  there  was  a  glance  of  surprise,  then  of  incredulity, 
then  of  greater  surprise  ;  finally  a  frown  of  indignation,  followed  by  an  explosion,  as, 
with  angered  voice,  he  thundered  :  “Sir,  you  will  have  those  trees  in  your  picture 
to-morrow,  or  you  will  go  home.”  There  came  a  time  when  Harpignies  was  not 
less  exacting  with  himself,  which  accounts  for  his  enduring  hold  on  fame.  He  was 
a  scientific  student  of  values  in  color,  proceeding, at  the  first  with  “neutrals.”  He 
is  unsurpassed  in  his  balancing  of  sky  and  water,  in  composing,  and  then  translating 
the  harmony  of  masses.  He  was  devoted  to  music.  Here  is  a  line  from  his  note¬ 
book  :  “One  must  play  with  the  brush  as  one  plays  with  the  strings  of  a  violin.” 


This  reveals  the  order  of  his  art  ;  there  was  no  wayward  impulse  defying  the  regnant 
tones  of  nature.  He  sought  only  to  enter  the  sweep  of  her  rhythmic  laws,  striking 
the  chords  as  light  strikes  a  cloud,  “  drawing  color  for  a  tune,  with  a  vibrant  touch." 

In  the  foreground  of  our  time,  his  figure,  tall,  robust,  square-shouldered,  groups 
naturally,  though  much  younger,  with  Diaz,  Rousseau,  and  DuprC  His  productions 
affirm  that  landscape  art  was  not  buried  when  Corot  died. 


FERDINAND  HEILBUTH 


HIS  artist  was  at  first  merely  a  colorist  of  costumes.  It  was  at  Rome  he  unveiled 


-*■  his  unique  talent  for  treating  the  life  and  manners  of  the  pontifical  court.  This 
was  done  with  such  intelligent  discrimination,  subtle  humor,  and  keen  insight  that 
Heilbuth  entered  at  once  upon  a  field  of  broadening  renown.  He  was  born  in  Ham¬ 
burg  in  1826,  but  naturalized  in  France.  He  took  his  medals  under  the  second  class 
in  18^7-1859  and  1861;  Legion  of  Honor,  1861;  Officer  of  the  same,  1881.  He  died 
in  Paris  in  1889.  His  “  Le  Mont  de  Piete”  is  at  the  Luxembourg.  He  exhibited  at  the 
Royal  Academy,  London,  in  1871,  two  pictures — ‘‘Spring”  and  “On  the  Banks  of  the 
Seine”;  also  at  Berlin,  same  year,  “The  Autumn  of  Love.”  He  was  surnamed  “the 
painter  of  cardinals,”  so  loyally  did  he  render  these  cheery  old  gentlemen  in  red. 
Between  the  years  1852  and  1862  he  oscillated  between  genre  and  historical  themes, 
successfully  sending  to  exhibitions  those  works  which  brought  him  marked  successes: 
“Rubens  Presents  Brauwer  to  his  Wife,”  “The  Son  of  Titian,”  “Tasso  at  the  Court 
of  Ferrara,”  “A  Concert  at  a  Cardinafs  Home,”  “The  Pawn  Shop,”  “  The  Promenade,” 
and  “The  Cardinal’s  Antechamber.”  Heilbuth  forgetting  his  master,  M.  Comte, 
and  surrendering  himself  without  reserve  to  the  world  of  impressions  at  Rome,  has 
certainly  created  a  style  of  his  own.  To  those  who  were  strangers  to  Heilbuth  in 
1855,  it  will  be  a  surprise  to  learn  that  the  artist  of  to-day,  so  robust  and  resonant,  was 
at  that  period  “a  pale,  thin  dreamer  under  the  falling  autumn  leaves.”  He  needed  the 
sun  of  the  south  in  his  blood,  and  returning  to  Rome,  caught  for  his  inspiration  the 
typical  forms,  brilliant  contrasts,  and  picturesque  tones  of  the  Vatican,  becoming  its 
recognized  painter.  His  “Monte  Pincio,”  with  the  clergy  in  their  glowing  robes  and 
official  dignities  on  the  one  side  an,d  the  royal  procession  of  the  House  of  Savoy  on  the 
other,  has  not  only  great  artistic  value,  but  for  those  who,  in  the  future,  will  seek  to 
reconstruct  the  Rome  of  the  pontiffs,  before  united  Italy  seized  the  city  for  its  capital, 
it  has  the  intrinsic  weight  of  an  historical  document. 


In  1870  Heilbuth  initiated  a  departure  which  may  be  said  to  have  constituted 
for  him  a  new  style,  if  not  his  last  incarnation.  His  life  in  England,  where  he  spent 
two  years,  profoundly  touched  and  swayed  his  spirit.  He  was  open  to  fresh  views, 
was  accessible  to  the  latest  revelation.  The  beauty  of  English  landscapes  and  of 
English  women,  the  open  air  of  their  social  high  life,  were  the  forces  that  now 
differentiated  his  career.  The  aristocracy  were  in  turn  captivated,  and  acclaimed 
him  their  fashion  and  fad.  He  painted  a  famous  picture,  “Repose  after  a  Cricket 
Game,”  owned  by  Sir  Richard  Wallace.  In  1872  he  returned  to  Paris,  and,  notwith¬ 
standing  his  wanderings,  his  tarrying  in  Rome,  his  English  episode,  came  to  be 
ranked  as  the  artist  of  the  Grand  Monde  Parisien.  As  a  water-colorist  he  dates 
from  1864,  and  has  poured  out  a  mass  of  gems,  full  of  grace  and  poetry.  He  was 
fond  of  the  greensward,  the  entrance  squares  of  chateaus,  placing  in  his  landscapes 
girls  in  fashionable  summer  toilets.  He  specially  affected  them  in  white  or  pearl- 
grey  dresses,  accented  with  black  belt  and  long  black  gloves.  About  these  he 
would  fling  the  bloom  of  his  atmospheres,  finely  toned  with  the  virginal  beauty  of 
the  costumes  and  the  verdure  of  the  fields.  He  has  been  termed  “the  Watteau  of  the 
century.”  His  study  of  “A  Lady  in  Yellow”  commands  unstinted  admiration. 
Heilbuth  was  prominent  in  founding  the  Society  of  French  Aquarellists. 


DON  GERMAN  HERNANDEZ 


PUPIL  of  the  San  Fernando  Academy,  this  Spanish  artist  has  justified  the 


prophecies  of  his  kindred,  and  promises  to  rank  high  in  the  record  of  his 
future  work. 

Although  Mr.  Stewart  secured  only  “The  Head  of  a  Woman”  from  his 
easel,  he  bought  with  it  a  type  of  the  best  art  executed  in  the  Spain  of  .to-day. 
Every  canon  is  conserved  and  made  luminous  — form,  color,  poise,  and  that  other 
equation  without  which  the  body  is  but  featured  clay — the  divine  glow  and  pulse 
of  life  itself.  This  lovely  face  is  a  prelude  to  creations  that  must  follow  after,  as 
day  follows  dawn. 


THEODOR  HORSCHELT 


MARTIAL  soul  was  encased  in  the  body  of  Horschelt.  For  him  art  must  lead 


1  *■  to  the  camp  life  of  the  soldier  and  the  tumult  of  battle.  He  was  originally 
taught  in  the  Munich  Academy,  and  later  by  Hermann  Auschutz,  a  famous  martinet 
and  drill-master  in  drawing.  His  first  picture  was  of  such  virility  as  to  find  a  pur¬ 
chaser  in  the  Society  of  Arts  at  Munich — “The  Wild  Huntsman.”  He  studied  horses 
in  the  royal  stables  at  Stuttgart,  and  was  a  favorite  with  the  reigning  house.  When 
he  had  barely  passed  his  majority  he  visited  Spain  and  Algiers  ;  in  1858  shared  in  the 
Russian  expedition  to  the  Caucasus,  accompanying  Alexander  II.  and  Albert  of  Prussia 
in  their  inspection  of  the  armies,  returning  to  his  home  city,  after  five  years  of  absence, 
by  way  of  Moscow  and  St.  Petersburg.  This  period  of  his  career  was  filled  with 
incessant  labor,  producing  many  pictures  in  oils  and  water  colors.  The  siege  of 
Strasbourg  found  him  busy  with  sketch-book  in  the  midst  of  stirring  scenes.  From 
the  sources  indicated,  Horschelt  put  forth  most  effective  canvases,  having  the  zest  of 
adventure  and  battle.  His  series  of  illustrations  of  “Chamois  Hunting  in  the  Bavarian 
Mountains  ”  has  been  engraved. 

In  1854,  by  royal  request,  he  painted  for  the  King  of  Wurtemberg  “The  Rest 
of  Arabs  in  the  Desert.”  His  “Arabian  Horse”  and  “A  Moorish  Camp  at  Algiers” 
immediately  followed.  His  later  works  reveal  the  march  of  untiring  talent.  The 
“Storming  of  the  Entrenchments  of  Schamyl  on  Mount  Gunib  ”  took  the  first  medal 
at  the  exposition  of  1867,  through  which  he  was  made  Chevalier  of  the  Order  of  the 
Iron  Crown  of  Austria.  The  Russian  Emperor  decorated  him  with  the  Orders  of 
Stanislaus  and  Saint  Anna.  His  “Morning  in  the  Bedouin  Camp”  and  “A  Cavalry 
Attack  ”  are  two  water  colors  that  have  attracted  attention.  He  was  fond  of  freeing 
his  humor  in  small  pen-and-ink  sketches,  caricaturing  in  the  mood  of  the  famous 
“Cham”  of  Paris.  Horschelt  had  the  deep  pleasure  of  finding  in  his  art  an  outlet 
and  unfolding  of  personal  tastes  and  aspirations  to  the  fullest  limit  of  forceful,  fiery 


utterance. 


LUDWIG  KNAUS 


A  CCEPTED  by  Germany  as  her  greatest  painter  of  genre  and  by  the  world  as  one 
of  the  chief  representatives  of  that  art,  Professor  Knaus  has  behind  him  a  trail 
of  honors.  He  was  born  at  Wiesbaden  in  1829  ;  his  father  was  an  optician.  He 
studied  under  Jacobi,  and  at  the  age  of  fifteen  entered  the  Diisseldorf  Academy,  then 
dominated  by  Sohn  and  Schadow.  He  yielded  chiefly  to  two  influences  in  the 
formative  period  of  his  art  :  the  old  Dutch  masters  and  the  noblest  leaders  of  the 
modern  French  school.  He  was  never,  in  any  pulse  beat  of  his  existence,  a  Diissel- 
dorfian.  Member  of  the  Academies  of  Berlin,  Vienna,  Munich,  Amsterdam,  Ant¬ 
werp,  and  Christiania  ;  Officer  of  the  Legion  of  Honor  ;  Knight  of  the  Order  of 
Merit.  Medaled  at  Paris,  Berlin,  Weimar,  he  has  justified  in  his  career  every 
distinguished  recognition. 

At  the  age  of  twenty  he  had  nothing  to  learn  in  the  mere  manipulation  of  the 
brush;  it  only  remained  for  him  to  perfect  himself  on  lines  of  larger  value.  His  has 
been  a  steady  growth,  each  output  from  his  hand  revealing  finer  and  riper  fruit. 
His  ambition  did  not  take  him  above  the  common  people  in  his  choice  of  subjects. 
These  he  sought  to  know  in  an  intimate,  familiar  fellowship  and  to  portray  their 
customs,  joys,  griefs,  their  life  battle,  whose  only  armor  was  very  plain  daily 
raiment,  but  whose  breasts  were  shields  behind  which  the  conflicts  of  humanity 
were  fought  out.  Knaus  renounced  idealistic,  mythological  compositions  of  his 
German  brethren  for  the  realities  of  this  world.  Wherever  life  was  in  its  normal 
mould,  untravestied,  free  of  masks,  without  pomposities  and  parade,  there  was  his 
atelier.  He  has  decided  fondness  for  the  peasant  in  all  his  phases,  his  simplicity  with 
its  cunning,  his  naive  self-regard  when  honored.  All  his  works  are  significant  utter¬ 
ances  for  the  reason  that  they  are  so  perfectly  composed  and,  from  the  standpoint  of 
the  eye,  exactly  express  the  subject.  He  treats  the  events  of  current  life  with  such 
wit,  charm,  pathos,  loyalty,  that  everyone  is  delighted,  understands,  and  will  not 
forget.  Edmond  About,  in  1855,  writes  :  “1  do  not  know  whether  Herr  Knaus  has 
long  nails,  but  even  if  they  were  as  long  as  those  of  Mephistopheles  it  should  still  be 
said  that  he  was  an  artist  to  his  finger-ends.  His  pictures  please  the  Sunday  public, 
the  Friday  public,  the  critics,  the  bourgeoisie,  and,  it  may  be  said,  the  painters  too. 
The  connoisseur  is  won  by  his  knowledge  and  thorough  ability;  the  most  incompetent 


are  attracted  by  his  canvases  because  they  tell  pleasant  anecdotes.  Herr  Knaus  has 
capacity  for  satisfying  every  one.  He  has  met  his  mission  and  filled  it,  winning  a 
firm,  sure  place  in  the  affections  of  the  people  and  the  highest  coronation  in  art.” 


LOUIS  EUGENE  LAMI 


FRIEND  of  David,  Gericault,  Gerard,  Girodet,  and  Prudhon  needs  no  formal 


presentation.  The  man  of  such  comradeship  must  have  the  artist  full  grown 
in  his  heart.  Eugene  Lami  was  equipped  with  every  quality  that  enters  into  the 
personal  adjustment  of  a  strong  painter  to  his  sphere.  He  began  at  the  beginning, 
and  patiently  drilled  under  the  instruction  of  Corot,  Horace  Vernet,  and  the  Ecole  des 
Beaux  Arts.  He  reached  the  Legion  of  Honor  in  1837  ;  was  made  Officer,  1862  ; 
medaled  in  1865.  His  first  laurels  were  won  as  a  water  colorist  of  scenes  in  fashion¬ 
able  life.  Historical  representation  had  a  firm  fascination  for  him,  and  eventually  took 
large  grasp  on  his  mind.  When  released  as  tutor  to  the  Orleans  princes,  he  gave 
himself  to  travel,  visiting  Italy,  England,  Belgium,  everywhere  alert  for  the  realiza¬ 
tion  of  his  ideals.  In  this  wandering  term  he  painted  “  Charles  1.  Receiving  a  Rose  on 
his  Way  to  Prison,”  “  A  Combat  in  the  Campaign  of  the  Balkans,”  “  A  Rustic  Team,” 
“Course  and  Clocher,  Muscovite  Bravery.”  These  were  followed  by  more  imposing 

examples,  in  which  he  exploits  his  passion  for  historic  pieces.  We  have  the  “Com- 

% 

bat  of  Wattignies,”  “Capitulation  d'Anvers,”  “The  Battle  of  Alma,”  “The  Combat 
of  Hondschoote  ”  (Museum  of  Lille). 

In  all  of  the  foregoing  the  landscape  parts  were  painted  by  Jules  Dupre.  After 
the  fall  of  Louis  Philippe  in  1848,  Lami  left  France  for  England.  He  was  accom¬ 
panied  by  the  satirist  Gavarni,  whose  influence  over  him  may  be  traced  in  several  of 
his  later  productions.  Lami  gave  himself  entirely  to  water  color  during  his  English 
residence,  entering  upon  a  series  of  works  to  illustrate  the  most  luminous  scenes  in 
Shakespeare,  Byron,  and  Goethe.  This  literary  endeavor  was  a  bold  attempt  to 
think  the  thoughts  of  these  men  of  genius  into  forms  and  colors.  He  wedded 
his  art  to  expressions  which,  in  many  instances,  were  incomparably  finer  than  the 
original  texts  he  illustrated. 

A  marvelous  water  color,  based  on  Shakespeare’s  suggestion,  reveals  Cleo¬ 
patra,  who,  vanquished,  receives  the  visit  of  Caesar.  The  artist  has  clearly  shown 
in  Caesar  the  Roman  who  spoke  to  the  conquered  Queen  in  these  words  :  “Stand 
up  !  Do  not  kneel  down  ;  I  beg  you  stand  up!  Stand  up,  Egypt!”  Lami  was 


often  great  in  his  composition,  as  instanced  in  the  Huguenots  showing  the  “  Bless¬ 
ing  of  the  Poignards,”  and,  again,  in  the  picture  of  young  “Marie  Stuart  Forced 
to  Listen  to  the  Preaching  of  John  Knox.” 

Another  masterpiece  is  a  scene  from  Sir  Walter  Scott’s  “  Ivanhoe.”  In  char¬ 
acterizing  an  epoch  of  his  own  time,  he  fearlessly  lashes  the  flanks  of  the  nobility. 

“A  Double  Team  of  the  Prince  Demidoff”  underscores  the  high  life  of  1836. 
His  finesse  in  satire  is  here  shown,  and  we  understand  why  Gavarni  found  in  Lami 
a  friend.  This  portraiture  of  Demidoff,  a  lion  of  the  kingdom  of  Louis  Philippe,  is 
a  match  for  Zamacoi's’s  canvas,  the  “Education  of  a  Prince.”  There  is  much  to  be 
said  upon  the  scope  and  variety  of  Lami’s  palette.  To  signalize  a  brief  list  gives  a 
glance  into  his  fecund  brain  :  “  Bal  de  Tuileries,”  “  Course  a  Chantilly,”  “  Revue  de 
Chasseurs,”  “The  Orgie,”  “The  Marble  Stairs  of  Versailles,”  “The  Navy  of  Cher¬ 
bourg,”  “The  Baptism  of  Louis  XIII.”  He  gave  twelve  studies  to  the  chronicles 
of  Charles  IX.,  illumined  the  writings  of  De  Musset,  and  illustrated  with  brilliant 
designs  the  Faust  of  Gounod.  These  were  phrased  with  melodic  motives,  and  uttered 
chastened  passions  through  symphonies  of  color. 


WILHELM  LEIBL 


SON  of  the  conductor  of  music  in  the  cathedral  at  Cologne,  Leibl  came  to  his 


1  1  inheritance  under  helpful  influences.  He  was  born  October  23,  1844.  In  his 
first  years  of  manhood  he  strikingly  resembled  Courbet,  both  in  physique  and  genre 
gravitations,  having  like  faculty  of  eye  and  hand,  while  in  traits  of  personal  character 
he  radically  contrasted  the  flaming  Frenchman,  being  reticent,  self-contained,  and 
exclusive  in  his  choice  of  friends.  His  organization  foreordained  him  to  art.  He  is 
at  his  highest  point  of  expression  when  treating  the  lowliest  themes  ;  the  simple- 
hearted  maiden  radiant  in  the  freshness  of  rustic  life,  the  old  grandmother  whose 
sweet  face  is  webbed  with  wrinkles,  and  the  peasant  who  strikes  the  earth  daily  to 
find  his  bread.  There  is  a  cynical  clique  who  affect  to  find  great  art  only  in  imposing 
subjects  that  bulk  largely  on  the  historic  page  or  fly  abroad  in  the  spectacular  involu¬ 
tions  of  classic  composition,  whereas  there  is  no  such  thing  as  great  or  little  art.  judg¬ 
ing  by  such  a  standard.  Art  takes  its  significance  from  the  treatment  which  a  subject 
receives  at  the  hands  of  the  artist.  There  are  great  subjects,  small  subjects,  but  the 
art  lies  in  the  interior  grasp  and  subtle  skill  of  the  painter. 

No  man,  after  Professor  Knaus,  more  explicitly  illustrates  this  than  Leibl.  His 


masterpiece  is  in  the  collection  before  us;  the  subject,  “Village  Politicians.”  These 
types  balance  him  in  a  sphere  with  Francois  Millet,  in  the  fashion  in  which  Holbein 
correlated  Michel  Angelo. 

A  letter  from  the  artist  to  Mr.  W.  H.  Stewart  fittingly  falls  into  space  here  : 


Aibling  in  Oberbayern. 


My  Dear  Mr.  Stewart  :  Permit  me  to  earnestly  request  that  you  will  lend 
me  the  picture,  painted  by  me,  entitled  “Peasants”  (“Village  Politicians”),  now  in 
your  possession,  that  I  may  exhibit  it-  in  this  year's  great  International  Exhibition, 
which  will  be  held  in  Berlin.  For  some  years  past  various  directors  of  art  exhibi¬ 
tions  have  urged  me  to  make  some  arrangement  by  which  this  picture,  which  is 
very  little  known  in  Germany,  might  be  placed  before  the  art-loving  public.  Because 
I  felt,  however,  that  this  would  perhaps  occasion  you  some  trouble,  I  have  not  ven¬ 
tured,  in  spite  of  earnest  appeals,  to  approach  you  upon  the  subject.  But  now,  at 
the  request  of  the  Berlin  Academy  of  Fine  Arts  (of  which,  for  some  years,  I  have 
been  a  member),  that  I  should  exhibit  my  best  picture  in  this  year’s  great  interna¬ 
tional  art  show,  I  write  to  you  for  permission  to  use  the  “  Peasants,”  which,  I  am 
convinced,  is  one  of  my  very  best  works.  I  make  this  request  in  the  hope  that  you 
will  grant  the  wish  of  the  Berlin  Academy.  The  exhibition  will  naturally  assume  all 
responsibility  for  the  safety  of  the  picture,  insuring  the  same. 

I  will  be  under  great  obligations  to  you  if  you  will  grant  this  request. 

With  expressions  of  respect,  1  remain, 


Your  obedient  servant, 


W.  Leibl. 


February  ii,  1896. 


CESARE  MACCARI 


CHILD  of  Siena,  where  he  was  born  in  1840,  but  in  the  real  spirit  of  his  life- 


1  v  work  a  son  of  Venice,  is  Maccari.  He  was  a  pupil  in  the  academy  of  his 
native  city,  where  he  won  the  Prix  de  Rome,  and  subsequently  studied  in  Florence 
under  Luigi  Mussini.  At  the  close  of  his  Roman  curriculum  he  visited  Assisi  and 
Venice.  The  Venetian  school  powerfully  impressed  him,  and  dominated  his  art.  He 
was  first  and  last  devoted  to  historic  painting,  giviijg  such  splendid  results  as  to  draw 
the  eye  of  Victor  Emmanuel,  who  commissioned  him  to  decorate  the  ceiling  of  the 
royal  chapel  of  the  Sudario  in  Rome.  He  executed  the  “Triumph  of  the  Three 
Graces  ”  in  fresco  for  the  Quirinal  Palace,  and  for  the  mortuary  chapel  at  Campo 
Verano,  a  lunette,  “Tobias  Burying  the  Dead.”  Two  works,  “Melody”  and 
“  Fabiola,”  added  much  to  his  fame  ;  the  latter  belongs  to  Dupre,  of  Florence.  In 
1869  he  was  honored  with  gold  medals  in  Siena  and  Parma;  in  1876,  in  Philadelphia, 
at  the  Centennial,  and  Grand  Prize  in  Turin  in  1880.  He  is  a  member  of  the  acad- 


emies  in  Rome,  Genoa,  Venice,  and  Bologna.  He  also  wears  the  Order  of  the 
Italian  Crown.  His  masterpiece  is  judged  to  be  “The  Descent  from  the  Cross,” 
which,  for  composition,  color,  and  breadth  of  handling,  is  one  of  the  most  reverent 
expositions  of  the  tragedy  of  Golgotha. 


RAYMUNDO  DE  MADRAZO 


DYNASTY  of  Madrazos  may  be  found  in  the  art  history  of  Spain,  with  laws 


1  1  of  hereditary  sceptreship.  For  more  than  a  hundred  years  the  brush  has 
passed  from  father  to  son.  It  has  been  the  fancy  of  Eugene  Montrosier  to  sketch 
in  speech  the  original  atelier  of  Madrazo  the  First.  With  a  slight  paraphrasing  it 
follows  :  “I  see  the  existence  of  this  enthusiast  of  the  unknown,  this  seeker  of  the 
golden  fleece,  wandering,  as  chance  directed,  with  his  knapsack  on  his  back,  supping 
on  a  crust  of  bread  dipped  in  the  brook,  sleeping  under  the  stars  ‘in  God’s  inn,’ 
soothing  his  distress  with  a  song  or  a  kiss  blown  from  the  fingers’  ends  of  the 
senora  leaning  from  her  window,  who  blushes  redder  than  the  pink  that  is  fastened 
in  her  black  tresses.  We  would  like  to  describe  his  rest  at  the  turn  of  the  road, 
the  easel  placed,  the  canvas  taken  from  the  box,  the  colors  extracted  from 'the  tubes, 
and  the  quick  sketch  made,  expressing  in  a  vivid  manner  the  emotions  felt.  Then  the 
happy  chance  encounter:  a  peasant  going  to  town  offers  the  dusty,  tired  pedestrian 
a  place  in  his  cart,  and  there  is  picturesque  conversation  or  observations  on  things 
seen  and  appreciated  differently,  with  warmth  of  words  and  eloquent  gestures  and  a 
ripple  of  laughter  like  beads  falling  from  a  broken  necklace.  ” 

Jose  de  Madrazo  had  two  sons — Federico  and  Luis  ;  Federico,  in  his  turn,  also 
had  two  sons — Raymundo  and  Ricardo.  The  subject  of  this  monograph  was  born  in 
Rome  in  1841,  and  baptized  in  St.  Peter’s.  It  is  said  that  the  priest  of  the  parish 
initiated  him  into  secrets  of  painting  by  allowing  him  to  copy  the  pictures  that  were 
in  the  sacristy  of  the  church.  He  received  instruction  from  his  father,  who  died  in 
1859,  as  the  head  of  the  Madrid  Academy.  He  was  also  a  pupil,  in  Paris,  under 
Winterhalter,  a  notable  exploiter  in  portraiture,  genre,  and  history.  While  Ricardo 
Madrazo,  his  younger  brother,  has  achieved  a  position  quite  his  own,  there  is  but  one 
Madrazo  who  is  recognized  as  the  head  of  the  succession  in  the  family,  and  that 
upon  logical  premises  established  by  himself.  In  1878  he  received  for  his  work  at  the 
Salon  a  first-class  medal  and  the  ribbon  of  the  Legion  of  Honor.  Up  to  that  date 
he  had  not  appeared  in  any  exhibition.  He  decorated  the  palace  of  the  Queen  of 


Spain  in  the  Champs  Elysees.  “  M.  de  Madrazo  is  original  because  he  does  not  pro¬ 
ceed  like  any  of  his  predecessors,  although  he  knows  how  to  make  good  use  of  his 
ancestors.  He  speaks  a  new  language  that  has  a  rhythm  of  its  own,  a  spontaneous 
cadence,  a  generous  flavor.”  In  spite  of  his  residence  there,  and  his  intimacy  with 
Fortuny,  Rico,  and  Zamacoi's,  he  has  never  become  a  Parisian.  He  has  the  pleasing 
sensation  of  being  claimed  equally  by  France  and  Spain.  Not  unoften  the  dispute 
waxes  hot,  and  his  artistic  indentity  becomes  the  ground  of  combat.  The  voluble, 
flaunting  banners  that  vex  the  air  afford  diversion,  and  beget  no  fear  in  the  heart  •• 
of  Raymundo  de  Madrazo.  He  has  permanently  impressed  his  students,  variously 
uttered  his  aims  as  a  modernist  of  power,  and  charmingly  invested  his  life  in  his 
friends. 


JEAN  LOUIS  ERNEST  MEISSONIER 


HEN  Eugene  Montrosier  said  that  all  of  Meissonier's  art  is  summed  up  in  the 


following  observation,  “intelligence  and  emotion  enclosed  in  a  panel  the 


size  of  a  hand,”  he  simply  indulged  in  one  of  those  cameos  of  speech  of  which  the 
French  are  so  fond,  the  passion  for  which  sometimes  leads  them  into  a  superficial 
estimate,  *  and  a  disposition  to  sneer  at  their  more  prosaic,  but  thorough  Dutch 
neighbors.  Meissonier  could  undoubtedly  give  to  his  smallest  canvas  the  reach  of 
leagues  and  the  force  of  an  epic,  but  his  masterpieces  were  not  panels  “the  size 
of  a  hand.”  Nor  was  all  of  his  art  seen  within  such  confined  limitations  of  space. 
He  was  so  various,  so  protean,  his  play  of  theme  so  wide,  touching  the  king  at 
one  extreme  and  the  bandit  at  the  other,  that  he  refuses  to  disclose  himself  save 
in  the  complete  review  and  articulation  of  his  whole  career.  Certain  conditions 
seemed  necessary  to  stir  his  ardor  and  arouse  his  gifts.  He  must  have  reality;  after 
that,  environment  of  a  vivid  kind  ;  form  and  color  were  prerequisites,  then  the  com¬ 
position  that  threw  those  into  action.  He  must  have  action,  no  matter  what  its 
impulse,  motive,  or  end,  whether  the  monarch  in  purple  or  the  robber  in  rags  ; 
there  must  be  some  guerdon  at  stake,  some  prize  for  the  game. 

Meissonier’s  idea  of  repose  is  a  march  between  two  battles,  a  breathing  space 
by  the  fire,  the  story  of  the  day's  fight  under  telling,  and  valor  for  to-morrow’s  fight, 
with  hand  on  sword-hilt.  Up  to  his  date  French  art  had  reveled  in  many  fields,  and 
excelled  in  all  except  the  school  of  the  Dutch  masters,  whom  Meissonier  sought 
to  rival.  He  has  surpassed  those  in  skill  of  detail,  although  he  never  became  their 
peer  in  color.  He  was  pronouncedly  of  the  eighteenth  rather  than  of  the  nine- 


teenth  century.  Without  poetic  temperament  or  large  pretensions  towards  an  ideal, 
he  busied  himself  in  projecting  creations  which,  from  thorough  knowledge  of  the 
epoch  he  would  represent,  leads  us  to  live  with  him  in  the  splendors  of  the  past. 
He  would  not  have  you  understand  that  past  by  its  materialism — costume,  bric-ii- 
brac,  architecture  ;  he  goes  beyond  these,  and  reveals  its  very  spirit  and  color.  He 
never  forgets  his  man  in  building  his  sphere  around  him  ;  he  is  the  central  motive  that 
first  strikes  the  eye  and  grasps  the  intelligence.  To  speak  of  Meissonier  as  a  mere 
miniaturist,  who  can  pack  “fifty  French  guards,  very  lifelike  and  very  stirring,  on  a 
canvas  where  two  cockchafers  would  be  too  crowded,”  is  to  judge  his  art  by  the 
canon  of  sheer  manipulation  ;  it  is  to  lose  sight  of  the  truthfulness  and  the  soul 
which  have  dictated  his  careful  execution. 

To  one  who  saw  and  pondered  the  exhibition  of  his  studies  at  the  Petit  Gallery 
at  Paris,  in  the  year  following  his  death,  the  open  page  of  his  secret  was  read.  It  was 
simply  conscientious,  incessant  toil.  This  series  represented  years  of  notation.  These 
walls  were  filled  with  many  searchings,  perpetual  efforts  to  seize  vital  factors  in  his 
themes.  His  horses  were  started,  under  his  pencil,  at  the  bone,  and  built  up  from  fet¬ 
lock  to  head  with  layers  of  muscle  and  nerve  finely  fibred  (for  you  saw  the  thorough¬ 
bred  quality  of  his  animal)  and  perfectly  modeled.  In  this  he  was  a  close  kinsman  to 
the  great  Angelo  Buonarroti,  whose  note-book,  still  to  be  seen  in  his  house  in  Flor¬ 
ence,  shows  that  he  treated  the  human  figure  with  the  same  scientific  method  ;  hence 
the  ceiling  of  the  Sistine  Chapel  at  Rome  swarms  with  bodies  full  of  vital  fire. 

Albert  Wolff,  referring  to  Meissonier's  studies  when  yet  on  the  walls  of  his 
home,  says:  “We  can  there  read  the  sincerity  and  wonderful  determination  of  a 
man  who  leaves  nothing  to  chance,  who  never  loses  sight  of  nature,  and  who  makes 
no  account  of  time  when  it  behooves  him  to  carry  on  a  work  to  the  pitch  of  perfec¬ 
tion  which  the  artist  desires.  Drawings,  painted  sketches,  statuettes  in  wax,  have 
been  prepared  before  the  final  undertaking  ;  it  is  the  scale  practice  of  this  inimitable 
executant  before  he  plays  his  piece.  In  this  thorough  way  he  has  treated  the  epic  of 
the  first  Empire  in  a  great  number  of  compositions,  of  which  the  most  perfect,  ‘  The 
Retreat  from  Russia  in  1814,’  is  not  merely  a  masterpiece  of  composition  and  execu¬ 
tion,  but,  again,  is  a  grand  page  of  history  in  limited  form.”  Who  can  turn  down 
that  chapter,  without  a  sense  of  its  unutterable  pathos  ;  while  the  man  who  “  met  at 
last  God’s  thunder”  sets  the  crushed  face  of  his  hope  toward  France? 

Montrosier  well-nigh  matches  Meissonier  in  picturing  the  event  in  words  : 
“In  a  hollow,  broken-up  road,  furrowed  with  ruts  and  soaked  with  half-melted 
snow,  Napoleon  advances  at  a  foot-pace  on  his  white  horse,  followed  by  his  staff. 
The  generals  are  dejected  and  depressed,  and  dare  not  break  the  silence  that  has 
fallen  on  him  who  so  often  led  them  to  success.  They  are  marching  under  a  dismal 
sky.  As  to  Napoleon,  he  has  the  air  of  a  Titan  overwhelmed.  Pale,  with  dim 
eyes,  the  mouth  contorted  with  fever,  he  moves  as  one  in  a  dream,  letting  the 


hand  that  holds  his  riding-whip  hang  down  ;  the  legendary  grey  coat  is  wrapped 
around  his  febrile-shaken  body,  but  seems  too  large  ;  under  the  crush  that  weighs 
him  down  he  is  lessened  in  size.  His  marshals  follow  him,  tired  out  and  humili¬ 
ated,  in  despair.  Ney,  however,  shows  a  good  front,  but  Berthier  appears  stupefied; 
the  others  drag  along  their  fatigue  and  shame.  One  of  them  is  sleeping  in  his 
saddle,  rocked  by  the  cadence  of  his  animal’s  step.  In  the  distance  a  column  fights 
in  full  retreat  and  is  lost  to  view  in  the  foggy  horizon.  Routed  on  every  side,  the 
route  is  strewn  with  bloody  vestiges,  the  halting-places  marked  by  corpses.  But 
the  spectator’s  eyes  leave  the  mass,  to  return  to  that  figure  of  Napoleon  with  the 
convulsed  mask,  where  all  kinds  of  grief  have  placed  their  stigma  ;  to  that  colossus 
which  a  child’s  hand  could  overthrow  ;  to  the  god  of  yesterday,  crumbling  to  dust 
under  the  feet  of  destiny.” 

Meissonier  first  exhibited,  in  1836,  “The  Little  Messenger,”  but  attracted  indif¬ 
ferent  attention  until  1840;  then  passed  quickly  into  the- chamber  of  renown.  He 
was  made  Chevalier  of  the  Legion  of  Honor  in  1846,  an  Officer  in  1856,  Member  of 
the  Institute  in  1861,  Commander  of  the  Legion  of  Honor  in  1867,  Grand  Officer 
in  1878. 

He  died  January  31,  1891.  He  stood  alone  in  his  place  ;  unyielding  in  his 
demands  upon  himself,  he  would  not  shift  his  convictions  at  the  mandate  of  others. 
Severely  reviewed,  the  centre  of  much  tumult  among  the  small  populations  that  live 
beneath  precedents  and  devoutly  follow  the  leadings  of  some  consecrated  clique, 
he  serenely  held  on  his  course.  No  dealer  dared  to  tempt  him  ;  the  rich  patron  could 
not  juggle  with  his  judgment  ;  the  wizard’s  wand  of  gold,  that  has  touched  into 
servility  so  many  artists,  found  him  always  erect  and  content.  He  painted  only  as  his 
conscientiousness  dictated.  His  house  of  life  was  sunlit,  with  broad  verandas  toward 
the  south  and  wide  eastern  gables.  One  day  Death  passed  by,  going  westward,  and 
took  him  beyond  the  setting  sun,  through  the  portals  of  immortality. 


ADOLF  FREDERIC  ERDMANN  MENZEL 


SERIES  of  pen-and-ink  drawings  called  “Artist’s  Pilgrimage”  discovered 


1  Menzel  to  the  world.  These  were  followed  by  a  cycle  of  scenes  lithographed 
from  the  history  of  Brandenburg.  He  illustrated  Kugler’s  “Frederick  the  Great”  and 
the  Edition  de  luxe  of  the  king’s  own  works.  These  commissions  opened  his  mind 
to  the  magnificence  of  that  reign,  and  led  him  to  the  production  of  a  succession  of 


pictures  disclosing  its  character.  These  were  eminently  realistic,  combining  exceed¬ 
ing  skill  in  the  treatment  of  details,  with  splendid  coloration. 

Up  to  his  fortieth  year  he  had  celebrated  the  glorified  past  of  his  country. 
His  coronation  picture  set  the  seal  to  the  series,  which  is  more  than  a  conventional 
review  of  ceremonies,  the  traditional  handling  of  a  court  event,  but  a  work  of  art  in 
that  intimate  and  august  sense  that  gives  to  Menzel  the  dignity  of  a  revelator. 
When  he  had  signed  that  canvas  he  went  out  into  the  street  to  be  thereafter  the 
apostle  of  humanity,  the  friend  of  those  masses  who  strive  and  cry,  laugh  and 
mourn  under  the  palpitating  strain  of  life.  Coming  to  Paris,  he  was  fascinated  by 
Meissonier  ;  the  feeling  was  mutual.  He  painted  the  portrait  of  the  genreist.  The 
intimacy  settled  into  a  permanent  fellowship,  and  as  Menzel  could  not  speak  a  word 
of  French  nor  Meissonier  a  word  of  German,  the  two  formed  an  interesting  pair 
to  watch  in  the  Salon  and  elsewhere.  Their  communications  were  in  dramatic 
signs.  Meissonier’s  crisp,  demonstrative  staccato  of  speech  and  gesture  was  looked 
upon  by  his  German  comrade  with  perfect  understanding  and  entire  satisfaction. 
He  has  been  professor  since  1856,  when  he  received  the  great  gold  medal  of  the 
Berlin  Academy,  of  which  he  was  constituted  a  member.  Member  also  of  the 
academies  of  Vienna  and  Munich  and  of  the  Societe  Beige  des  Aquarellistes.  He 
entered  the  Legion  of  Honor,  Paris,  1867  ;  the  Order  pour  le  Merite,  1870,  and  was 
knighted  by  the  Bavarian  Order  of  St.  Michael. 

He  was  born  at  Breslau,  December  8,  1815.  In  Paris  his  representations  of 
contemporary  life  proclaimed  him  a  pioneer  there,  as  he  had  been  in  Germany.  He 
was  acclaimed  with  enthusiasm,  one  panegyrist  asserting  that  “Menzel  combined  all 
the  qualities  of  which  other  men  of  talent  merely  possessed  fragments  separately 
apportioned  among  them.”  He  was  self-taught,  tarrying  but  a  brief  time,  in  1833,  in 
the  Academy  of  Berlin. 

He  has  stepped  aside  twice  from  his  canvas  to  work  in  fresco.  These  passages 
of  effort  may  be  seen  in  the  interiors  of  the  churches  of  Innsbruck  and  Salzbourg. 
Emile  Michel,  in  the  Revue  des  Deux  Mondes,  December,  1877,  records  this  word  of 
praise:  “  Above,  vividly  lighted,  are  white  walls,  pictures  and  altars  resplendent  with 
gilding  ;  then,  by  insensible  degrees,  the  light  decreases,  candles  burn  in  a  mysterious 
and  lukewarm  shade,  and  below  are  some  faithful  ones,  absorbed  in  their  prayers, 
with  an  expression  of  silence  and  deep  meditation.  In  place  of  the  heavy  pretentious¬ 
ness,  which  too  often  we  have  pointed  out  in  the  works  of  German  painters,  we  find 
here  a  true  artist,  full  of  tact  and  taste,  of  elegance  and  easy  grace,  who  would  worthily 
sustain  all  comparisons  with  the  best  of  our  French  masters.” 


GEZA  VON  MESZOLY 


HUNGARIAN  landscape  painter,  who  studied  in  Munich,  but  has  transcended  the 


1  *■  old  traditions  of  that  school  in  his  development,  and  was  one  of  the  results  of 
the  German  Renaissance.  He  touches  his  work  with  pictorial  charm,  lucid  warmth, 
and  poetic  fragrance.  The  scale  of  his  production  was  not  wide,  but  he  moved  within 
it  in  a  calm,  reposeful  fashion.  He  took  congenial  and  familiar  scenes  to  shift  them 
in  the  differentiated  lights  of  the  day  or  tones  of  the  seasons.  The  shores  of  Platten 
Lake  held  his  affectionate  consideration.  We  see  the  “Fishermen’s  Huts”  there  (in 
the  Pesth  Museum),  the  “Twilight  Hour,”  and  “Lake  Platten,  with  Fowls.”  The 
“Water  Carrier  on  the  Banks  of  the  Theiss”  was  painted  in  1885.  He  was  medaled 
at  Munich,  1883. 


FRANCOIS  PAOLO  MICHETTI 


1 


IN  the  northern  part  of  Italy,  central  between  what  were  formerly  papal  states 
*  and  the  shores  of  the  Adriatic,  lie  three  portions  of  what  was  once  the  kingdom 
of  Naples,  each  of  which  bore  the  name  of  Abruzzo,  collectively  registered  Abruzzi. 
It  is  a  region  seldom  visited  by  tourists,  although  offering  a  wild,  picturesque  mass 
of  mountains  and  forests,  interluded  with  fat  pastures,  lakes,  and  torrent-like  rivers. 
The  natives  of  these  highlands  give  their  time  chiefly  to  tending  docks  of  sheep. 
During  the  winter  season  they  descend  into  the  plains  ;  a  few  at  Christmas  even  stroll 
to  Naples  or  as  far  as  Rome  to  sing  simple  carols  and  pick  up  centesimi.  This 
Italian  nomadic  life  charmed  the  pencil  of  Signor  Michetti,  a  Neapolitan  artist  of  rare 
power,  who  has  persistently  scorned  the  merchandise  side  of  art.  Years  ago  we  saw 
one  of  his  earliest  examples,  called  the  “Young  Shepherdess  of  the  Abruzzi.”  A 
child  has  fallen  asleep  on  the  grass  by  the  forest’s  edge,  while  a  lamb  gently  pillows 
its  head  on  her  bosom,  watching,  as  would  a  dog,  with  wistful  solicitude  over  her 
safety.  The  sturdy  figure  of  the  sleeper  was  beautifully  modeled,  the  attitude 
having  the  easy  abandon  of  perfect  repose.  Both  she  and  her  keeper  were  thrown 


into  bold  relief  by  the  contrasting  screen  of  the  woods,  in  the  midst  of  which  were 
visible  other  members  of  the  fold,  gazing  in  astonishment  at  the  scene  before  them. 

Michetti  was  born  at  Chieti,  near  Naples,  1852,  and  studied  under  Dalbono,  of 
that  city,  later  in  Paris  and  London.  He  has  been  medaled  at  Rome,  Turin,  Florence, 
and  Parma,  and  is  Chevalier  of  the  Order  of  the  Crown  of  Italy.  His  father  was  a 
day  laborer,  whom  he  lost  in  his  youth.  A  gentleman  of  position  became  protector 
to  the  orphan  boy  and  gave  him  advantages.  In  1876  he  returned  to  the  neighbor¬ 
hood  of  his  birthplace,  and  settled  among  the  Abruzzi,  in  Francavilla,  close  to  the 
Adriatic.  Here  he  lived,  surrounded  by  old  pictures  in  the  heart  of  the  vigorous  life 
of  the  Italian  peasantry.  In  1877  he  painted  his  celebrated  “Corpus  Domini  Pro¬ 
cession  of  Chieti,”  a  picture  which  is  motleyesque  in  its  discharge  of  color,  a  very 
tumult  of  boisterous  rejoicing.  The  generic  meaning  of  the  artist’s  name  is  defined 
here — “Michetti”:  “splendid  materials,  dazzling  flesh  tones,  conflicting  hues  set 
with  intention  beside  each  other.”  Everything  in  this  canvas  bubbles  with  laughter — 
every  tint  of  the  prism,  every  face,  every  flower  and  fern  spray  ;  above  all,  the  genial 
sun.  Now  and  then  Michetti  painted  the  sea.  He  was  prone  to  take  the  meridian 
hour,  when  the  sultry  heat  broods  on  the  azure  water,  showing  fishermen  standing 
in  it  or  on  the  shore,  and  gayly  dressed  women,  with  skirts  caught  up,  searching  for 
mussels;  while,  in  the  background,  boats  are  seen  with  dreaming  sails.  The  Spirit 
of  the  Tides  sleeps,  barely  breathing  in  liquid  murmurs  that  fall  and  faint  against  the 
gates  of  Capri. 

Again,  the  artist  sends  forth  a  moonrise  over  the  bay  or  a  flowering  hillside  on  a 
summer  evening,  with  children  in  the  foreground.  Whatever  his  theme,  he  is  certain 
of  his  eve  and  hand,  improvising  with  precision  and  dexterity  ;  a  Guilleman  before 
the  vast  organ  of  nature. 


H.  HUMPHREY  MOORE 


PRESENCE  welcomed  in  the  studios  of  Paris  is  that  of  Mr.  Moore.  He  is  an 


Tv  American,  born  in  New  York  City  in  1844.  Was  first  a  student  in  the  Ecole 
des  Beaux  Arts;  afterward  under  Gerome  in  Paris,  and  Fortuny  at  Madrid.  The 
dominating  influence,  however,  was  that  of  the  Spanish  rather  than  French  school. 
He  is  a  figure  painter  of  more  than  average  force.  His  variations  of  the  subject  of  the 
Alhambra  have  found  appreciative  buyers.  His  better-known  works  are  his  “  Ahneh,” 
for  which  he  received  a  medal  at  the  Philadelphia  Centennial  ;  Moorish  Bazaar, 


“  The  Blind  Guitar  Player,”  and  “The  Moorish  Merchant”;  the  type  of  this  last  is  from 
Algiers.  His  “  Almeh  ”  shows  consummate  skill  in  composition.  “The  figure  of  the 
swaying  and  poised  woman  has  the  modesty  of  unconsciousness  associated  with 
gayety  ;  the  abandon  of  delight  in  a  voluptuous  dance,  without  the  expression  or 
manner  of  one  impure.  The  dance,  or,  rather,  body-swaying  of  the  ‘  Almeh,’  is  located 
in  one  of  the  gorgeous  halls  of  the  Alhambra,  frescoed  in  the  intricate  and  dreamy 
harmony  of  Moresque  decorations  ;  over  the  floor  is  spread  a  carpet  rich  in  warm 
hues.  The  attitude  of  the  girl  leaves  the  body  semi-nude,  and  while  correct  in  point 
of  costume,  is  contrived  with  consummate  judgment  for  effect  in  color.” 

From  the  studio  of  Gerome  he  turned  to  that  of  Fortuny,  who  wielded  the 
more  powerful  sceptre  over  his  mind,  giving  to  his  work  a  dash  and  sparkle  which 
were  hitherto  wanting.  Subsequently  he  surrendered  to  the  sway  of  Japanese  art,  in 
common  with  the  leading  impressionists  of  the  time.  His  studies  in  shining  reds 
and  yellows  have  been  highly  priced  on  account  of  their  exceeding  popularity  with 
American  buyers. 


DOMENICO  MORELLI 


BIBLICAL  painter  of  unique  personality  was  Domenico  Morelli.  He  broke  at 


1  *  the  start  with  the  reigning  powers  in  that  particular  branch  of  Italian  art,  in 
the  end  attaining  a  mastery  and  founding  a  school  of  his  own.  He  was  quite  the 
pattern  for  such  headship  :  fiery,  yet  reserved  ;  haughty,  independent,  and  radical. 
The  young  men  deserted  other  teachers  for  his  atelier,  where  he  taught  them  loyalty 
to  the  radiant  integrity  of  sun  and  sea.  Among  these  was  Paolo  Michetti,  whom 
he  counted  his  prize  pupil.  Morelli  was  recognized  when  young,  and  sent  by  the 
Neapolitan  government  to  Rome.  He  was  placed  under  the  tuition  of  Prof.  Camillo 
Guerra,  but  was  more  influenced  by  Filippo  Palizzi.  During  a  second  term  at  Rome 
he  studied  with  Overbeck,  concluding  his  preparatory  monitions  by  an  extended  tour 
through  the  art  centers  of  England,  France,  Germany,  Belgium,  and  Holland.  He 
won  first  prize  at  Naples  in  1855,  the  gold  medals  at  Paris  in  1861  and  1867,  and  has 
been  admitted  to  the  Academy  of  St.  Fernando,  Madrid,  of  Fine  Arts,  Naples,  and  all 
the  academies  throughout  Italy.  He  is  Commander  of  the  orders  of  St.  Maurice  and 
St.  Lazarus,  of  the  Crown  of  Italy,  and  is  Cavalier  of  the  Order  of  Civil  Merit  of  Savoy. 
His  more  significant  works  are  :  “  Cesare  Borgia  at  the  Siege  of  Capua,”  “Christian 
Martyrs”  (in  the  Gallery  of  Capo  di  Monte),  “The  Assumption”  (in  the  Royal  Chapel 
at  Naples),  “Madonna  and  Child”  (in  the  Church  of  Castellina),  which  has  been  most 


favorably  criticised  by  Prof.  Villari  ;  a  “Christ,”  painted  for  Verdi,  the  composer.  At 
the  Pans  Exposition  in  1878  he  showed  “The  Temptation  of  St.  Anthony,”  gaining 
universal  sympathy  for  the  saint.  His  single  panel  of  “A  Woman  Seated,”  in  Mr. 
Stewart’s  group  of  pictures,  is  a  marked  note  of  clear  expression.  He  was  a  friend 
of  Fortuny’s,  upon  whose  recommendation  this  drawing  was  purchased. 


GIUSEPPE  DE  NITTIS 

A  NOBLE  mission  was  that  of  Mr.  William  H.  Stewart,  who  went  into  the  realm 
■**  of  unknown  artists  on  tours  of  discovery.  He  had  an  eye  for  gifts  in  embryo, 
and,  among  others,  may  be  said  to  have  developed  de  Nittis,  whose  native  place  was 
the  town  of  Barletta,  several  leagues  distant  from  the  battlefield  of  Cannes.  The 
family  was  of  Spanish  origin,  and  settled  in  the  Sicilies  in  the  eighteenth  century. 
They  carried  the  name  of  Velasquez.  Death  took  his  father  and  mother  when  he 
was  very  young.  At  the  age  of  twelve  he  came  to  Naples,  and  at  sixteen  produced 
landscapes  directly  inspired  by  Nature.  His  brother  bought  him  a  box  of  colors, 
those  marvelous  colors  hidden  in  the  white  ray,  which  the  prism  unweaves.  De 
Nittis  gave  a  brief  session  to  Professor  Dattoli,  another  to  the  Neapolitan  School  of 
Fine  Arts,  and  then  swiftly  returned  to  the  breast  of  Nature.  After  two  years  of 
wandering  he  came  back  from  the  fields  with  a  collection  of  sketches  that  imperi¬ 
ously  took  hold  of  the  public  and  were  discusssd  in  cafes  and  on  street  corners. 
Entering  the  Museum  of  Naples,  the  spell  of  the  old  masters  fell  like  dew  upon  his 
brain.  He  tells  us  that  it  was  from  these  and  Nature  in  the  neighborhood  that  he 
gained  all  his  training.  He  came  to  Paris  to  eat  the  crusts  of  poverty,  not  knowing 
a  verb  in  the  language  of  the  city.  A  fellow-countryman  presented  him  to  Brandon, 
who  introduced  him  to  Gerome,  who  introduced  him  to  Meissonier.  Doors  were 
now  opened  to  this  predestined  sorcerer.  His  dauntless,  searching,  sensitive  spirit 
challenged  the  stiff  posings  of  David  and  the  classicists  of  his  paternity.  He  took 
the  people  in  the  streets  of  Paris  off  their  guard,  and  caught  the  crowds  en  route. 
The  “Place  des  Pyramids”  and  the  view  of  the  “Pont  Royal”  are  superb  studies, 
illustrative  of  his  method.  These  are  exquisitely  atmosphered  ;  the  vibrating  mist, 
the  shifting,  curling  smoke,  through  which  graceful  figures  appear  and  then  vanish, 
show  him  as  a  veritable  victor  in  confronting  the  subtle  street  phases  of  Parisian 
life.  He  rejoiced  in  the  “  Bois  ”  and  in  the  “Champs  Elysees  ”  ;  he  was  held  by 
the  masses  that  throbbed  and  surged  between  the  Arc  de  Triomphe  and  the  Obelisk. 


He  loved  the  feathery  blooms  of  the  chestnuts,  and  the  disks  of  delightful  color  let 
into  the  grass. 

Emile  Blemont  thus  characterizes  him  :  “  Impressionist  in  conception,  de 

Nittis  is  a  harmonist  in  execution  ;  the  unity  of  the  work  comes  from  the  unity 
of  the  idea.  His  compositions  are  as  simple  as  the  day  and  as  complex  as  life. 
The  sun  awakens  and  accentuates  the  tones,  warming  and  impregnating  them 
with  purple  and  gold,  whilst  the  shadow,  calming  the  brilliancy,  softens  the 
contrasts,  absorbs  the  reflections,  thus  forming  by  its  darker  tones  the  bass  of  the 
symphony,  vaguely  lulling  the  dark  blues  and  twilight  violets  of  the  outlines.  And 
it  is  as  true  as  it  is  charming.  The  effect  corresponds  exactly  to  the  mathematical 
bearings  of  luminous  vibrations,  to  the  law  of  opalescent  centers  dividing  the  light 
into  warm  tints,  which  they  transmit,  and  cold  tints,  that  are  reflected  ;  the  law 
of  complementary  colors,  mutually  magnified  by  their  opposition  ;  and  the  law  of 
collateral  colors,  where  the  stronger  decompose  and  partially  absorb  the  feebler. 
Such  an  art  as  this  is  full  of  perils.  What  exactness  of  sight  and  delicacy  of  touch  are 
necessary!  But  where  the  science  of  de  Nittis  might  hesitate,  his  taste  guides  him 
surely;  his  style  is  always  simple  and  large.  It  is  certain  that  since  the  fifteenth  cen¬ 
tury,  art  has  known  the  charm  of  bluish  shadows  and  tempered  horizons  ;  but  it  is 
only  lately  that  they  have  really  understood  and  expressed  how  much  there  is  of  air 
and  sky  that  is  always  mingled  with  terrestrial  sights.  To  perfect  and  keep  himself 
fresh,  de  Nittis  spares  neither  time  nor  trouble.  Vivacious,  alert,  of  medium  height 
and  well  built,  the  features  finely  cut,  with  an  intense  and  slightly  concentrated 
glance,  the  face  remarkably  mobile,  brown  hair  and  beard,  with  golden  reflections,  he 
is  always  in  movement,  always  in  quest  of  new  fields  and  unknown  sources.  Inde¬ 
fatigable,  he  paints  with  ardor  streets  and  woods,  landscapes  of  grass  and  landscapes 
of  stone,  wheat-fields,  racecourses,  earth  and  water,  the  Parisian  drawing-room 
toilets  and  the  lone  dreariness  of  a  ragged  old  woman  on  the  banks  of  the  Thames. 
In  an  enormous  box,  with  compartments  and  grooves,  he  keeps  numberless  sketches 
of  all  sorts.  One  of  the  most  curious  is  a  study  of  the  sky,  done  in  less  than  an  hour 
in  answer  to  a  challenge  of  Gerome  and  Boulanger.  In  the  infinite  azure  floats,  like 
white  fleece,  some  wandering  vapor ;  there  is  nothing  else,  and  the  effect  is  prodi¬ 
gious.  It  is  Shelley’s  cloud  transposed  ;  the  painter  has  modeled  the  impalpable.  As 
he  varies  his  subjects  so  he  varies  his  processes. 

“  It  was  quite  late  when  he  specially  devoted  himself  to  drawing,  but  the  really 
great  passion  of  de  Nittis  is  the  pastel.  If  he  loses  the  intense  transparency  of  oil 
colors,  he  gains  a  wonderful  rapidity  of  execution,  outlines  drawn  and  colored  at  a 
stroke,  tones  deliciously  modeled,  and  shadows  of  a  strange  softness  ;  he  gains  that 
marvelously  misty  envelopment  that  yields  the  golden' dust  of  a  sun’s  ray,  the  velvet 
of  a  ripe  fruit,  the  down  of  flowering  carnations,  the  haze  of  the  horizon's  air,  dif¬ 
fused  light,  atmosphere,  and  perspective.  His  chef-d’ oeuvre  in  this  style  is  the  portrait 


of  a  woman  exhibited  in  1882.  He  passed  through  impressionism  without  lingering 
or  losing  himself,  only  keeping  a  flower  of  white  light  with  a  bit  of  thread  fallen  from 
the  scarf  of  Iris.” 

He  was  medaled  in  Paris— third  class,  1876  ;  first  class,  1878  ;  Legion  of  Honor 
in  the  same  year.  His  “  Road  from  Naples  to  Brindisi  ”  was  the  chief  centre  of  interest 
for  the  Salon  of  1872.  Of  this  M.  Montaignac  thoughtfully  says:  “An  evolution  was 
going  on  ;  painters  were  trying  to  free  themselves  from  black  and  from  bitumen  ; 
there  was  a  marked  tendency  toward  the  sun — a  real  sun — not  made  by  black  or 
white  ;  de  Nittis’s  ‘  Brindisi  Road  ’  appeared.  The  picture  was  at  the  same  time  a 
proof  and  a  lesson  ;  it  showed  to  what  point  the  power  of  color  could  be  carried 
without  turning  things  black  ;  it  taught  the  process  to  those  who  were  seeking 


for  it. 


De  Nittis  died  at  St.  Germain  in  1884.  Gerome,  Meissonier,  Manet,  were  the 
masters  whom  he  welcomed  last.  While  they  undoubtedly  had  a  share  in  the  artistic 
moulding  of  his  individuality,  there  came  a  time  when  but  feeble  trace  of  them  could 
be  discerned.  The  maturing  soul  of  the  painter  had  caught  higher  visions,  and  was 
unrestful  until  these  came  down  to  dwell  with  him. 


ALFRED  PARSONS 


HEART  familiar  with  the  sun  beats  in  the  breast  of  Mr.  Alfred  Parsons,  coloring 


his  art  and  his  life  with  a  golden  hue  touched  with  crimson.  Mr.  Henry  James 
calls  him  “the  painter  of  happy  England,”  and  further  exploits  his  style  as  one  easily 
ministering  to  the  “  quietest  complacency  ”  of  that  self-centred  nation.  He  says  Mr. 
Parsons  is  “doubtless  clever  enough  to  paint  rawness  when  he  must,  but  he  has  an 
irrepressible  sense  of  ripeness.  Half  the  ripeness  of  England,  half  the  religion,  one 
might  almost  say,  is  in  its  gardens;  they  are  truly  pious  foundations.”  Recall  Mr. 
Alfred  Austin’s  book  on  “The  Garden  that  I  Love,”  the  original  of  which  spreads  its 
beauty  round  the  Dower-house  of  Goddington  in  Kent.  Mr.  Parsons  has  shown  us 
the  English  passion  for  dowers,  as  a  protest  against  the  greyness  of  their  climate. 
He  has  looked  over  many  walls,  gone  with  observing  leisure  down  many  alleyways 
of  hawthorn  and  boxwood,  and  caught  the  fragrant  swing  of  their  organized  revels 
of  color.  Here  is  one  picture  for  the  verbal  setting  of  which  we  are  indebted  to  Mr. 
James  :  “A  corner  of  an  old,  tumbled-up  place  in  Wiltshire,  where  many  things  have 
come  and  gone,  represents  that  moment  of  transition  in  which  contrast  is  so  vivid  as 


reflections  on  the  intrigues  and  whole  effect  of  the  play,  design  with  rigorous  exact- 
ness  the  costumes  of  the  actors  in  their  least  details,  indicating  the  colors  and  the 
shades.  He  exhibited  in  the  Salon  of  1870  “  Sancho  Recounting  his  Exploits  to  the 


Duchess”;  in  1872,  “Autumn”;  in  1873,  “Matrimonial  Accord”;  in  1875,  “Market 


at  Antwerp”  and  “Old  Clothes”;  in  1876,  “The  Morning  Interview,  Intemperance 
and  Sobriety.” 


GEORGE  JOHN  PINWELL 


N  engraver  on  wood  for  illustrated  books  was  the  original  sphere  of  this  artist. 


He  advanced  to  water-color  themes,  and  at  once  solicited  the  consideration  of 
connoisseurs.  He  was  elected  an  Associate  of  the  Society  of  Water  Colors  in  1869, 
contributing  frequently  to  the  exhibitions  in  Dudley  Gallery  up  to  1871,  when  he  was 
made  a  full  member,  but  frail  health  restrained  him  from  activity  after  that  date. 
His  “Pied  Piper  of  Hamelin,”  “The  Elixir  of  Love,”  “The  Saracen  Maiden,”  and 
“The  Strolling  Player”  are  his  most  important  examples.  There  was  an  atmosphere 
of  pathos  in  his  work.  His  appeal  was  to  the  thoughtful  rather  than  to  those  who 
seek  qualities  of  art  only  on  the  surface.  Pinwell  repaid  the  study  of  underlying 
history.  He  was  born  in  London  in  1842,  and  passed  to  rest  in  1875.  His  works 
are  rarely  seen  to-day  outside  of  collections. 


ROMAN  RIBERA 


PUPIL  of  Lorenzalez,  Ribera  was  caught  in  the  influences  that  were  set  in  play  by 


1  v  the  honest  effort  of  Spain  to  free  herself  from  conventionalisms,  and  to  look 
at  the  world  with  eyes  cleared  of  mists  and  untwisted  by  the  strabismus  of  conse¬ 
crated  precedent.  His  “Cafe  Chantant  ”  reveals  the  grasp  and  brush-work  of  a 
master  with  a  tine  certainty  of  characterization.  Contemporary  life  affords  Ribera 
his  field.  He  received  honorable  mention  at  the  Paris  Exposition,  1878,  and  the 
gold  medal  at  Barcelona  ten  years  later.  He  is  Fellow  of  the  Royal  Academy  of  Art, 
Knight  of  the  Order  of  Isabella,  and  of  the  Order  of  Christo  of  Portugal. 


MARTIN  RICO 


GUITAR  and  a  generous  bundle  of  cigarettes  could  take  Rico  round  the  globe. 


1  *  He  came  to  his  first  knowledge  of  art  through  the  kindness  of  a  cavalry  captain, 
who  taught  him  to  draw.  From  the  trooper  he  passed  to  the  Madrid  Academy,  and, 
as  he  progressed,  made  his  living  by  engraving  on  wood  in  moments  of  leisure. 
With  a  few  jingling  coins  in  his  pocket,  he  would  take  long  excursions  through  the 
country,  getting  upon  friendly  terms  with  herdsmen  or  gypsies,  reducing  expenses 
to  the  minimum,  and  not  unfrequently  having  to  beg  his  way  back  to  the  city.  In 
1862  he  secured  the  first  Prix  de  Rome  ever  given  at  Madrid  for  landscape.  The 
four  years’  pension  carried  the  privilege  of  a  choice  between  Rome  and  Paris.  Rico 
went  to  Paris.  ZamacoTs  introduced  him  to  Daubigny  and  Meissonier.  When  his 
pensionate  had  expired  he  was  fortunate  in  finding  that  prince  of  patrons,  the  father 
of  Mr.  Julius  L.  Stewart,  the  artist,  who  gave  him  advancement  until,  well  on  his  feet, 
he  could  march  single-file.  He  was  susceptible  to  the  delicate  moods  of  Nature,  her 
restful  interludes,  her  deeps  of  still  skies  unvexed  by  tempests,  even  undreamed  of 
clouds.  His  spirit  was  steeped  in  light  and  toned  with  color.  Mr.  John  C.  Van 
Dyke,  in  the  Art  Review  of  December,  1887,  says  of  him  :  “Entirely  different  from 
Rousseau,  he  did  not  paint  the  strong,  enduring,  storm-tossed  trees  of  the  centuries, 
but  rather  the  soft,  delicate  foliage  of  early  summer  swayed  by  the  slightest  breeze 
or  hanging  motionless  in  the  heated  air.  The  world  of  nature  seems  to  have  been  a 
sort  of  dreamland  to  Rico,  for  his  art  was  flooded  with  a  ‘rapture  of  repose’  that 
steals  over  the  sunlit  streets,,  the  silent  water,  the  nodding  trees,  and  the  distant  hills. 
This  was  his  point  of  view,  and  when  men  like  Rico  put  their  impressions  on  canvas, 
conveying  it  to  others  by  technical  skill,  it  is  rightly  called  art.” 

He  was  the  intimate  comrade  of  Fortuny,  and  was  with  him  in  Italy  for  a  longer 
time  than  any  other  friend.  His  pictures  of  this  period  are  Fortunesque  ;  indeed 
several  of  his  sea  pieces,  especially  those  of  the  Venetian  canals  and  tfie  Bay  of  Fonta- 
rabia,  might  have  been  painted  by  the  distinguished  Catalonian  himself.  In  others  he 
appears  more  serene  and  harmonious  than  the  latter.  Richard  Muther  deems  his 
execution  more  powerful;  “less  marked  by  spirited  stippling,  his  light  gains  in 
intensity  and  atmospheric  refinement  what  it  loses  in  mocking  caprices.”  Certain 
market  scenes,  with  a  dense  crowd  of  buyers  and  sellers,  are  peculiarly  spirited,  rapid 
sketches,  with  a  gleaming  charm  of  colors.  In  1878  he  was  medaled  at  the  Salon 


and  endowed  with  the  Cross  of  the  Legion  of  Honor.  In  the  days  of  his  opulence  he 


does  not  forget  his  struggles  and  the  narrow  margins  of  his  boyhood,  maintaining 
very  simple  habits.  He  travels  widely  and  far  for  fresh  things,  and,  whether  in  water 
colors  or  oils,  so  brilliantly  speaks  as  to  command  the  praise  of  the  people  and  the 
franchise  of  the  rich.  He  was  personally  precious  to  Fortuny. 


ANTON  ROMAKO 


HIS  whole-hearted  genre  painter  was  born  at  Atzgersdorf,  not  far  from  Vienna,  in 


1  183s.  He  was  a  pupil  of  the  Vienna  Academy  and  of  Rahl,  and  subsequently 

resided  in  Rome.  His  Italian  figure-work  is  of  first  rank.  He  made  a  permanent 
success  in  rendering  the  child-life  of  Vienna,  and  is  strongly  akin  to  Knaus  in  the 
verity  and  spirit  of  his  compositions.  Medals,  1869  and  1872;  Legion  of  Honor,  1882. 
His  pen-and-ink  sketches  are  of  a  high  order.  For  him  the  aim  of  art  was  not  beauty, 
but  the  expression  of  truth. 


C.  BARONESS  DE  ROTHSCHILD 


DISTINGUISHED  artist  in  a  family  of  renown,  who  paints  for  her  pleasure  and 


1  v  that  of  her  friends.  She  is  a  member  of  the  Societe  de  Aquarellistes  in 
Paris,  and  occasionally  exhibits,  as  instanced  by  the  two  effective  landscapes  shown  in 
London  in  1875.  Her  status  carries  the  strength  of  a  professional,  although  she  ranks 
as  an  amateur,  being  unwilling  to  sell  her  pictures.  The  canvas  to  be  seen  in  this 
collection  was  a_gift  by  the  artist  to  a  charitable  fair  held  in  Paris,  and  was  purchased 
there  by  Mr.  Stewart. 


THEODORE  ROUSSEAU 


HERE  is  one  name  in  the  annals  of  modern  French  art  that  must  give  a  thrill  of 


1  joy  and  a  consciousness  of  assured  satisfaction  whenever  it  is  written,  whether 
the  pen  be  in  the  hand  of  a  venerable  savant  like  Albert  Wolff,  or  the  merest  tyro 
who  takes  art  for  a  tonic.  The  name  is  the  caption  of  this  unworthy  monograph. 
Who  has  not  felt  the  futility  of  words  in  the  presence  of  a  great  creation  ?  A  cliff  at 
sea,  whose  ledges  hew  out  of  the  pitiless  bulk  and  green  gloom  of  great  billows  ; 
passionate  hearts  “  white  as  snow  and  tenderer  than  lilies”;  a  peak  cleaving  the  air, 
an  eyrie  for  mountain  eagles,  and  an  altar  for  worship;  a  sunset  trembling  on  the  sky 
like  “a  harvest  kingdom  of  red  wheat”;  an  oak  by  Rousseau,  whose  roots  grip  the 
ribs  of  earth,  whose  body  gives  greeting  alike  to  sun-floods  or  storms;  a  Titan  unbent 
by  the  tread  of  a  thousand  years.  This  artist  was  the  supreme  intellectual  painter  of 
France,  an  aspirant  for  knowledge  until  the  black  fog  of  death  dimmed  his  brain.  A 
glimpse  of  his  method  has  been  given  us  by  M.  Alfred  Sensier  in  his  book,  “Souvenirs 
sur  Theodore  Rousseau.” 

“  I  went  to  see  him  in  Indian  summer  in  November.  His  little  house  was  cov¬ 
ered  with  clematis  and  nasturtiums.  He  showed  me  a  whole  collection  of  pictures, 
sketches,  monotint  studies,  and  compositions  ‘laid  in,’  which  made  him  ready  for 
twenty  years’  work.  He  was  beginning  his  beautiful  landscape,  ‘The  Charcoal  Burn¬ 
er’s  Hut,’  so  luminous  and  so  limpid.  He  had  laid  it  in  with  the  right  general  effect 
at  the  first  painting  on  a  canvas  prepared  in  grey  tints,  and  after  having  placed  his 
masses  of  trees  and  the  lines  of  his  landscape,  he  was  taking  up,  with  the  delicacy 
of  a  miniaturist,  the  sky  and  the  trunks  of  the  trees,  scraping  with  a  palette  knife  to 
half  the  depth  of  the  painting  and  retouching  the  masses  with  imperceptible  subtlety. 

‘  It  seems  to  you  that  I  am  only  caressing  my  picture,  does  it  not  ?  That  I  am  putting 
nothing  on  it  but  magnetic  flourishes  ?  I  am  trying  to  proceed  like  the  work  of 
nature  itself,  by  accretions  which,  brought  together  or  united,  become  forces,  transpar¬ 
ent  atmospheric  effects,  into  which  I  put  afterward  definite  accents  as  upon  a  woof  of 
neutral  value.  These  accents  are  to  painting  what  melody  is  to  harmonic  bass,  and 
they  determine  everything,  either  victory  or  defeat.  The  method  is  of  slight  impor¬ 
tance  in  these  moments  when  the  end  is  in  sight  ;  you  may  make  use  of  anything, 
even  diabolical  conjurings,’  he  said  to  me,  laughingly,  ‘and  when  there  is  need  of  it 
I  use  a  scraper,  my  thumb,  a  piece  of  cuttlebone,  or  even  my  brush-handles.  They 


are  hard  trials,  these  last  moments  of  the  day’s  work,  and  1  often  come  from  them 
worn  out,  but  never  discouraged.’  Then  stopping  short  in  his  talk,  ‘  Come,  let  us  go 
for  a  walk  ;  I  will  show  you  a  little  of  the  law  of  growth  in  nature  itself.’  ” 

Rousseau  had  plunged  into  nature’s  centre.  His  landscapes  are  laid  down  on 
a  world  the  anatomy  of  which  was  familiar  to  him.  He  is  the  majestic  prophet  of 
solitude,  of  vast  plains  and  forests,  a  revealer  of  moss-grown  rocks,  in  the  midst  of 
which  he  sets  his  gigantic  trees.  His  favorite  was  the  oak,  the  primeval  wide- 
branched  oak,  such  as  stands  in  one  of  his  masterpieces — “A  Pond.” 

Plants,  trees,  and  rocks  were  not  forms  summarily  observed  and  clumped 
together  in  an  arbitrary  fashion  ;  for  him  they  were  beings  gifted  with  a  soul, 
breathing  creatures,  each  one  of  which  had  its  physiognomy,  its  individuality,  its 
part  to  play,  and  its  distinction  of  being  in  the  great  whole  of  universal  nature. 
He  tells  us  :  “By  the  harmony  of  air  and  light,  with  that  of  which  they  are  the  life 
and  the  illumination,  1  will  make  you  hear  the  trees  moaning  beneath  the  north 
winds,  and  the  birds  calling  to  their  young.”  He  has  the  attitude  of  Turgenieff's 
“Sportsman  ”  toward  Nature.  Man  receives  neither  love  nor  hatred  at  her  hands.  She 
looks  beyond  him  with  her  deep,  earnest  eyes,  because  he  is  an  object  of  complete 
indifference  to  her.  “The  last  of  thy  brothers  might  vanish  off  the  earth,  and  not  a 
needle  of  the  pine  tree  tremble.”  While  this  is  the  philosophical  posture  of  Rous¬ 
seau’s  mind,  no  man  has  informed  nature  with  deeper  moods,  reflecting  the  spirit  of 
the  child,  whom  God  has  placed  before  her.  In  fact,  the  greatest  picture  he  ever 
painted  lets  forth  this  accordant  note.  It  is  called  “  Le  Givre,”  and  is  the  crown  jewel 
in  that  marvelous  grouping  of  gems  known  as  the  “Walters  Collection.”  What 
Turner’s  “  Slave  Ship  ”  was  to  the  realm  of  marine  art,  Rousseau’s  “  Le  Givre  ”  is  to  the 
realm  of  landscape.  The  earth  is  ridged  as  from  the  spasms  of  an  old  agony,  the  grass 
turned  to  a  hoary  green  beneath  the  withering  frost;  the  forest-masses  of  the  back¬ 
ground  stand  at  arms  while  the  day  dies.  Everywhere  one  reads  the  shadowy 
footmarks  of  sorrows  that  have  journeyed  that  way,  going  down  into  the  valley  and 
beyond  the  hills,  pilgrims  to  a  dreaded  destiny.  There  is  a  tragic  memory  in  the 
sunset.  This  canvas  is  the  bitter  epic  of  a  soul  whom  want  and  the  world’s  scorn 
were  seeking  to  drive  to  despair.  But  the  world  and  want  reckoned  without 
knowledge  of  the  man  whose  patient  courage  will  fight  as  long  as  his  dust  holds 
together.  It  is  a  perpetual  satire  on  Paris  that  “  Le  Givre  ”  was  carried  all  day  through 
the  streets  of  the  city  by  Dupre,  who  failed  to  find  a  purchaser,  and  sold  it  in  the  late 
evening  to  Baroilhet,  the  singer,  for  five  hundred  francs  ;  who,  counting  out  the  sum, 
said  with  a  sigh,  “Paintings  will  be  my  ruin  in  the  end”!  What  changes  were 
wrought  by  the  time  Edmond  About,  in  his  notes  on  the  artists  of  the  Salon  of  1857, 
wrote  these  words  : 

“  Theodore  Rousseau  has  been  for  twenty-five  years  the  first  apostle  of  truth  in 
landscape.  He  made  a  breach  in  the  wall  of  the  historic  school,  which  had  lost 


I 


the  habit  of  regarding  nature  and  servilely  copied  the  bad  copyists  of  Poissin.  This 
audacious  innovator  opened  an  enormous  door  by  which  many  others  have  followed 
him.  He  emancipated  the  landscape  painters  as  Moses  formerly  liberated  the  Hebrews 
in  exitu  Israel  de  /Egypto.  He  led  them  into  a  land  of  promise,  where  the  trees 
had  leaves,  where  the  rivers  were  liquid,  where  the  men  and  animals  were  not  of 
wood.  On  the  return  of  this  truant  school  the  young  landscapists  forced  the  entrance 
of  the  Salon,  and  it  was  still  Theodore  Rousseau  who  broke  down  the  door.  In  that 
time  Rousseau  occupied  the  first  rank  in  landscape — above  all,  as  a  colorist  ;  but 
neither  the  institute  nor  the  public  wished  to  confess  it.  His  uncontestable  talent  was 
contested  by  all  the  world.  It  is  only  to-day  that  his  reputation  is  made.” 

Thirty  years  have  gone  since  this  panegyric  was  penned,  and  these  years  have 
proved  that  not  a  single  sentence  was  overcharged  with  praise.  He  was  born  in 
Paris,  1812.  Pupil  of  Guillon-Lethiere,  whose  lessons  he  soon  forgot.  Chevalier  of 
the  Legion  of  Honor.  His  adversaries  pursued  him  to  the  last,  and  wounded  him 
sorely  by  neglect  and  intrigues.  The  slight  put  upon  him,  though  chief  of  the  section 
of  the  jury  at  the  Universal  Exposition  of  1867,  in  his  failure  to  receive  the  rosette  of 
the  Legion,  hurt  him  keenly.  In  the  distribution  of  official  recompenses  others 
were  preferred..  Among  the  fragments  of  letters  found  at  his  death  was  the  draft 
of  a  protest  to  the.  Emperor,  which  was  never  sent  ;  he  had  torn  it  asunder  and 
thrown  it  aside,  too  proud  to  make  the  appeal  for  justice.  A  few  years  after  his  mar¬ 
riage  his  wife  was  seized  by  madness,  and  though  his  friends  besought  him  to  put  her 
away  in  some  retreat,  he  would  never  consent.  Whilst  he  tended  her  he  became  the 
victim  of  a  brain  affection  which  clouded  his  end.  In  1867,  when  Rousseau  lay 
dying,  a  parrot  screamed,  and  his  demented  wife  danced  and  trilled.  He  was  buried 
in  front  of  the  forests  he  loved  at  Barbizon.  His  friend  Millet  set  up  a  memorial 
for.  him,  a  simple  cross  carved  upon  an  unhewn  block  of  sandstone,  with  tablet  of 
brass  engraved  “  Theodore  Rousseau,  Peintre 


FERDINAND  ROYBET 


HE  has  the  right  to  rival  the  old  Spanish  masters  on  account  of  the  glowing  tone 
with  which  he  has  invested  his  cavaliers  of  the  seventeenth  century.  Roybet 
conserves  the  identity  of  the  historical,  but  does  not  sacrifice  his  pictorial  art  to  it. 
He  has  given  an  accomplished  translation  of  the  aspects  of  the  period  in  which  he 
revels.  He  was  born  at  Uzes,  1840.  Studied  at  the  School  of  Arts  at  Lyons.  Settled 


in  Paris,  1864.  He  sent  the  “Jester  of  Henry  III.”  to  the  Paris  Salon  of  1866,  for 
which  he  was  medaled.  He  knew  how  to  give  environment  to  his  great  people,  a 
skill  in  which  the  French  have  pronounced  mastership.  He  presents  his  superb 
cavaliers  and  their  ladies,  grouped  with  vivid  power  within  picturesque  incidents 
and  surroundings.  The  formal  is  charged  with  vitality,  the  ceremonious  is  shaped 
into  plastic  expression  ;  hence  we  have  movement  and  the  delight  of  life.  He 
would  not  paint  unattractive  histories  ;  his  accurate  sense  of  events  and  their  bearings 
must  needs  have  the  allurement  of  fascinating  episodes.  To  the  large  circle  to  whom 
he  speaks  he  has  proved  himself  brilliant,  original,  and  sincere.  We  know  that  an 
exhibition  of  his  collected  works  in  Paris,  1890,  was  the  occasion  of  an  enthusiasm 
which  has  been  rarely  aroused  by  any  display  in  that  city  of  the  productions  of  a 
single  hand. 


JAMES  SANT 


HE  “principal  painter  in  ordinary  to  Her  Majesty”  is  the  title  which  is  worn  by 


1  James  Sant.  The  honor  is  well  bestowed.  He  was  born  in  London,  1820.  A 
pupil  of  Varley,  who  prepared  him  for  the  Royal  Academy,  which  he  entered  at  the 
age  of  twenty  years.  Shortly  thereafter  he  found  his  sphere  in  the  painting  of  por¬ 
traits.  Among  his  earlier  efforts  we  have  “Samuel,”  1853  ;  “  Children  of  the  Wood,” 
1854  ;  “  The  First  Sense  of  Sorrow,”  which  led  to  his  election  as  an  Associate  of  the 
Royal  Academy  in  1862.  Among  his  circle  of  sitters  we  find  the  Due  d’Aumale  ;  the 
Lord  Bishop  of  London,  whom  he  painted  in  1865  ;  the  Queen  and  the  children  of 
the  Prince  of  Wales,  1872.  His  “Young  Whittington”  was  shown  at  the  Cen¬ 
tennial,  Philadelphia,  1876;  “The  Early  Post”  and  “Adversity”  at  Paris,  1878. 
Referring  to  “The  Early  Post,”  the  Art  Journal,  July,  1875,  gives  unqualified  praise  : 
“Mr.  Sant  has  given  us  everything  in  this  painting — youth,  beauty,  life,  sympathy, 
a  charming  story,  and  a  very  pleasant  reminiscence  of  an  English  country  house  with¬ 
out  our  ever  having  been  there.  As  an  example  of  careful  art-work  and  purity  of  tone 
in  coloring,  this  composition  of  itself  is  excellent,  but  as  an  incident  of  everyday  life 
depicted  on  canvas  it  is  one  of  the  best  pictures  of  the  Academy.” 


WILLIAM  SMALL 


N  English  landscape  painter  residing  in  London,  whose  artistic  qualities  have 


1  1  made  him  for  years  a  most  reliable  contributor  to  the  Royal  Academy.  What¬ 
ever  he  undertook,  the  result  was  a  picture.  It  is  not  a  fragmentary  effort  to  catch 
some  transient  phase  of  nature,  not  an  exhibition  showing  the  presence  of  some 
clique  or  school  in  art,  but  a  whole  story  from  the  great  book,  a  beautiful  rehearsal 
of  some  single  song  or  chapter  out  of  the  heart  of  the  world.  He  demonstrates  a  well- 
balanced  unity,  regard  for  eminent  leaders  in  landscape,  and  has  caught  connections 
concerning  the  body  of  things  about  him  that  assert  his  own  right  to  rank  among  the 
best  exponents  in  modern  English  art.  He  is  a  Member  of  the  Institute  of  Painters 
in  Water  Colors.  He  has  gained  the  patronage  of  a  loyal  constituency,  who  steadily 
purchase  his  pictures.  He  has  shown  “The  Fallen  Monarch,”  “Early  Spring,”  and 
“The  Harvest  Field”  in  water  color.  In  oils,  through  recent  years,  he  has  exhibited 
“After  the  Storm,”  “Highland  Harvest  House.”  To  the  Paris  Exposition  in  1878  he 
sent  “The  Wreck,”  in  oil,  and  “The  Beech-Trees”  and  “Poplars,”  in  water  color. 
The  Art  Journal  of  July,  1876,  ventures  to  speak  of  “The  Wreck”  as  a  “noble  speci¬ 
men  of  grandly  painted  seascape,  certainly  one  of  the  masterpieces  of  the  year.” 
There  is  a  marked  influence  of  Constable  on  his  finest  examples. 


ALFRED  STEVENS 


CONJUNCTION  of  a  Belgian  and  a  Frenchman  is  seen  in'  the  massive,  broad- 


shouldered  man  who  stands  before  us.  Perhaps  the  Belgian  strain  is  the 
more  strongly  current  in  his  blood,  but  of  this  the  critics  are  not  sure  ;  where  these 
are  in  doubt  let  angels  fear  to  tread.  Alfred  Stevens  represents  health  and  color  in 
art.  His  healthfulness  is  not  so  intrusive  as  to  be  ill  bred,  for  no  man  has  surpassed 
him  in  rendering  pictures  at  once  solid  and  refined,  graceful  and  even.  He  carries 
a  dexterous  brush  in  a  large  deft  hand,  and  produces  what  men  love  to  linger  over, 


with  a  finished  style,  an  elegant  execution,  and  sincere  poetic  sentiment.  His  patron¬ 
age  has  been  powerful  from  the  beginning  ;  honors  have  come  to  him  with 
growing  significance.  He  has  been  medaled  in  Brussels  and  Paris,  third,  second,  and 
first  classes  ;  Member  of  the  Legion,  in  which  he  attained  Commander’s  place  in 
1878.  Austria,  Bavaria,  the  museums  of  France,  Belgium,  Germany,  and  England 
give  prominent  recognition  to  his  name.  Born  at  Brussels,  1828. 


JULIUS  L.  STEWART 


PARISIAN  from  Philadelphia  is  the  characterization  that  has  been  made  of  this 


1  1  gifted  artist  and  cultured  gentleman.  He  reversed  the  course  of  Mr.  Humphrey 
Moore,  who  went  from  Gerome  to  Fortuny.  Mr.  Stewart  went  from  the  atelier 
of  Zamaco'is,  Fortuny’s  pupil,  to  that  of  Gerome.  His  antecedents  fitted  him  for 
the  broadest  training,  his  father,  one  of  the  most  renowned  of  modern  collectors, 
giving  every  advantage  to  his  son.  The  leading  critic  of  the  continent  has  said  : 
“The  earlier  original  works  of  Julius  Stewart  were  as  brilliant,  as  colorful,  and  spirited 
as  if  they  had  come  from  an  easel  native  to  Spain  or  Italy,  but  with  his  advancing 
powers  and  his  wider  social  range  in  Paris  his  style  assumed  a  more  subtle  and 
elegant  form  ;  he  occupies  to-day  a  unique  place  as  the  painter  par  excellence  of 
modern  social  life  in  the  gay  city.”  His  “Five  O'Clock  Tea”  was  one  of  the  most 
refined  pictures  of  the  Paris  Exposition  of  1889.  “The  Hunt  Ball”  (“After  the 
Hunt”)  won  him  fame  on  both  sides  of  the  sea.  It  is  now  owned  by  the  Hon. 
Franklin  Murphy,  of  Newark. 

Mr.  Stewart  is  distinctly  a  modernist,  giving  serious  weight  to  every  fresh 
movement  in  the  kingdom  of  art,  ready  to  discern  values  in  any  school  that  reveals 
firmer,  closer  hold  on  the  verities  of  life  and  the  truths  of  nature.  His  advance  has 
been  toned  by  the  reflected  lights  of  Gerome,  Madrazo,  Zamaco'is,  while  at  his  belt 
he  wears  the  key  which  he  alone  has  forged,  which  he  alone  can  turn.  Mr.  Stewart 
received  honorable  mention  in  the  Paris  Salon  of  1 88s  ;  Member  of  International 
Jury,  Paris  Universal  Exposition,  1889  (hors  concours)  ;  medal,  Salon,  1890;  gold 
medal,  Berlin,  1891  ;  Knight  of  the  Order  of  Leopold  of  Belgium,  1894  ;  Knight 
of  the  Legion  of  Honor,  1895  ;  grand  gold  medal,  Berlin,  1896  ;  gold  medal, 
Munich,  1897  ;  Member  of  Jury  of  Selection  for  World’s  Columbian  Exposition, 
where,  in  consideration  of  this  honor,  he  did  not  compete.  In  1895  his  “View  of 
Venice  ”  was  bought  by  the  German  Emperor. 


CONSTANT  TROYON 


HE  mastership  of  Troyon  lay  in  his  breadth  of  technique,  harmony  of  com- 


1  position,  and  an  intuitive,  direct  seizure  of  nature  at  first  hand.  It  would  be 
a  flippant  and  useless  travesty  on  the  man  to  trace  him  back  to  the  days  when  he 
painted  porcelains  at  Sevres.  He  came  to  the  unfolding  of  his  potential  self  in  com¬ 
munion  with  souls  kindred  to  his  own  :  Theodore  Rousseau  and  Jules  Dupre.  He 
was  a  landscape  painter  of  finished  power  before  his  visit  to  Belgium  and  Holland, 
which  turned  his  attention  to  animal  life.  Those  who  have  been  privileged  to  study 
the  features  of  his  genius  as  a  landscapist  will  ever  be  grateful  that  he  graduated  there 
first.  The  example  in  the  collection  of  Mr.  Quincy  Shaw,  of  Boston,  is  quite  the 
highest  expression  of  his  ability — a  noble,  strong  handling  of  surfaces  that  impress 
the  beholder  as  having  been  laid  upon  foundations  of  granite.  The  tree-forms  are 
magnificently  built  up  and  buttressed.  They  recall  the  sturdy  standing  of  Rem¬ 
brandt's  oaks — as  though  they  were  living  personalities  conquering  under  the  sweep 
of  the  north  wind  and  the  flails  of  tempests. 

In  fact,  it  was  Rembrandt,  rather  than  Paul  Potter  or  Albert  Cuyp,  who  set  a 
broader  vital  impulse  stirring  in  his  blood.  In  1 8s9  Troyon  painted  the  picture  in  the 
Louvre  which  displays  him  at  the  meridian  of  his  power.  “Till  then,”  says  Muther, 
“no  animal  painter  had  rendered  with  such  combined  strength  and  actuality  the  long, 
heavy  gait,  the  philosophical  indifference,  and  the  quiet  resignation  of  cattle  ;  the 
poetry  of  autumnal  light  and  the  mist  of  morning,  rising  from  the  earth  and  veiling 
the  whole  land  with  grey,  silvery  hues.  The  deeply  furrowed,  smoking  field  makes 
an  undulating  ascent,  so  that  one  seems  to  be  looking  at  the  horizon  over  the  broad 
face  of  the  earth.  A  primitive  Homeric  feeling  rests  over  it.  What  places  Troyon  far 
above  the  old  painters  is  his  fundamental  power  as  a  landscapist,  a  power  unequaled 
except  in  Rousseau.  His  ‘Cow  Scratching  Herself’  and  his  ‘Return  to  the  Farm’ 
will  be  counted  amongst  the  most  forceful  animal  pictures  of  all  ages.” 

It  was  in  1847  that  he  astonished  the  Salon  with  a  cattle  piece  so  strong  in 
color  and  of  such  vivid  realism  that  he  established  his  fame  at  a  stroke.  His  art  is 
penetrated  with  poetry,  the  rustic  poetry  of  out-of-doors  on  a  clear-minded  day  ;  a 
poetry  that  sweeps  with  its  vision  the  fields,  the  herds,  the  dogs,  the  Keeper,  the 
grass,  flowers,  every  flame-like  spire  and  leaf  in  the  woods  ;  wnile  arching  all  is  the 


great  sky,  like  a  vast  chalice  of  sapphire  overturned,  from  the  rim  of  which  foaming 
clouds  slowly  drop  and  drift.  Troyon  sent  sixty  masterpieces  to  the  Salon  between 
the  years  1823  and  1865.  In  this  last  year  a  shadow  fell  on  his  easel,  and  death  turned 
a  renowned  career  into  a  renowned  memory.  Mr.  William  Henry  Howe  (himself  a 
strong  painter  of  animals),  in  “Modern  French  Masters,”  has  this  estimate,  which  is  an 
up-to-date  type  of  intelligent  regard  and  differentiation  touching  Troyon  :  “Potter,  as 
an  animal  painter,  was  never  the  equal  of  Troyon.  He  could  paint  isolated  objects 
with  harsh  truth,  but  he  never  could  gain  the  whole,  the  ensemble  of  things,  as  com¬ 
pared  with  Troyon.  He  could  paint  cowhides  and  cow  anatomy,  but  he  never  could 
paint  cow  life.  Albert  Cuyp  could  give  the  truth  of  a  cow's  skeleton,  the  rack  of 
bones  and  members,  with  exceptional  force,  but  Troyon,  in  painting  cows — the 
clumsy,  wet-nosed,  heavy-breathing  bovine — was  vastly  his  superior.  Again,  Land¬ 
seer  could  humanize  dogs  and  other  animals,  giving  them  a  sentiment  quite  opposite1 
to  their  nature,  but  Troyon  never  distorted  or  sentimentalized  in  any  such  way.  He 
told  the  truth.  It  has  been  said  that  he  was  the  most  sympathetic  painter  of  this 
century.  It  may  be  added  that  in  the  painting  of  animals  and  their  homes  he  was  the 
greatest  painter  of  this  or  any  other  century.” 

Hamerton’s  “Contemporary  French  Painters ”  gives  a  kindred  estimate:  “In  the 
‘Oxen  Going  to  Work'  we  have  a  page  of  rustic  description  as  good  as  anything 
in  literature — of  fresh  and  misty  morning  air,  of  rough,  illimitable  land,  of  mighty  oxen 
marching  slowly  to  their  toil  !  Who  that  has  seen  these  creatures  work  can  be  indif¬ 
ferent  to  the  steadfast  grandeur  of  their  nature  ?  They  have  no  petulance,  no  hurry, 
no  nervous  excitability  ;  but  they  will  bear  the  yoke  upon  their  necks  and  the  thongs 
about  their  horns,  and  push  forward  without  flinching  from  sunrise  until  dusk.” 

He  was  ever  seeking  new  themes,  and  greeted  with  delight  any  variation  from 
the  average  body-colors  of  his  friends  on  the  turf.  Upon  one  occasion  he  was 
saluted  with  mocking  hilarity  in  the  midst  of  neighbors,  when  he  tied  up  to  paint 
a  cow  of  magnificent  tawny  tone.  She  was  an  animal,  in  their  judgment,  of  but 
little  value.  “This  gentleman,”  they  said,  “has  chosen  to  represent  in  his  picture 
the  only  worthless  creature  there  is  in  the  whole  pasture.  Why,  she  is  being  fattened 
for  the  butcher !  ” 

How  suggestive  “the  point  of  view”  becomes  under  the  light  of  this  incident. 
Troyon  saw  rare  color  and  splendid  form.  The  farmers  saw  only  a  poor  milk-giver. 
Each  from  his  own  logical  outlook  was  right.  Troyon  never  married,  devoting  him¬ 
self  to  his  mother  and  his  art.  She  established,  as  a  memorial  of  her  son,  “The 
Troyon  Prize”  for  students  in  animal  life.  His  massive  frame,  dissolved  in  dust,  lies 
in  the  old  historic  Montmarte  Cemetery  of  Paris,  but  surely  he  is  with  Rousseau. 


JOSEPH  HENRI  FRANCOIS  VAN  LERIUS 

DORN  at  Boom,  near  Antwerp,  1823;  passed  outward,  1876.  A  noble  teacher 
of  the  art  he  finely  illustrated.  He  was  early  inclined  to  his  professional  career. 
Studied  in  the  Academy  of  Brussels,  where  his  rapid  development  astonished  the 
masters.  He  was  sent,  at  the  expense  of  his  native  village,  to  the  academy  at 
Antwerp,  entering  at  the  age  of  fifteen.  Here  he  took  all  prizes,  and  so  captured 
the  interest  of  the  president,  Baron  Wappers,  that  he  took  him  into  his  own  studio  as 
an  assistant.  His  first  picture  was  a  scene  from  Sir  Walter  Scott’s  “  Kenilworth  an 
interview  between  “Leicester  and  Amy  Robsart.”  This  was  followed  by  “Milton 
Dictating  Paradise  Lost  to  his  Daughter.”  In  1848  he  exhibited  at  the  Brussels 
Exposition  a  picture  for  which  he  was  awarded  the  gold  medal.  “Joan  of  Arc  ”  was 
shown  in  i860,  the  year  of  his  appointment  as  Professor  of  Painting  in  Antwerp 
Museum.  The  incident  on  which  the  work  was  based  is  said  to  have  occurred  when 
La  Pucelle  was  in  command  of  the  army  at  the  siege  of  Paris.  The  tradition  is,  that 
upon  going  the  rounds  of  the  camp,  as  was  her  custom,  she  came  upon  soldiers 
carousing  with  followers  of  the  army.  Her  indignation  was  so  great  that  she  delivered 
a  blow  of  menace  on  the  air  with  such  violence  that  the  miraculous  sword,  which 
had  been  sent  her  from  Fiertoes,  was  broken  in  two.  The  dramatic  pose  of  Joan’s 
figure  is  as  superb  as  the  attitudes  of  the  men  and  women  are  abject  and  affrighted. 
For  this  work  Van  Lerius  was  medaled  with  gold  in  Amsterdam,  and  elected  to  an 
honorary  membership  in  the  Academy.  At  the  International  Exposition  at  Munich 
in  1869  he  exhibited  a  dramatic  work  representing  a  maiden  plunging  headlong  from 
her  chamber  window  to  escape  dishonor.  Among  his  later  efforts  were  “The  First- 
Born,”  bought  by  Queen  Victoria  ;  “  Volupte  et  Denouement.”  purchased  by  Prince 
Saxe-Coburg  of  Gotha.  In  1877  the  city  of  Antwerp  bought  the  “Lady  Godiva.” 


EMILE  VAN  MARCKE 


T  T  IS  father  had  been  a  pupil  of  Watelet,  and  was  favorably  known  in  Germany  as  a 
-*■  -*•  landscape  painter.  His  mother,  who  was  French,  was  an  artist  of  flowers, 
receiving  a  medal  at  the  yearly  salon  where  she  exhibited.  Emile  was  their  only  son. 
It  was  at  the  Liege  drawing  school  that  he  took  up  his  first  studies.  Here  he  carried 
off  all  the  prizes,  but  was  restrained  from  vanity  by  the  thorough  counsels  of  his 
father  and  mother.  He  married  early  the  daughter  of  M.  L.  Robert,  for  a  long  period 
connected  with  the  Sevres  manufactory,  and  who,  at  the  death  of  Regnault,  became 
chief  director.  Here  he  secured  a  position  for  his  son-in-law,  who  seriously  began 
upon  his  work  of  decorating  on  glazes,  and  followed  it  for  nine  years.  He  executed 
landscapes  relieved  by  animal  forms.  Several  large-sized  pieces  on  pttle  iendre  were 
offered  as  gifts  to  sovereigns  ;  those  presented  to  the  Queen  of  Holland  were  of 
unusual  beauty.  Troyon,  whose  mother  lived  at  Sevres,  visited  her  frequently,  and 
was  attracted  to  Van  Marcke,  to  whom  he  offered  instruction.  The  relation  became 
confidential,  and  to  the  young  artist  the  realization  of  his  ambition.  His  first  canvas 
was  a  success,  but  the  critics,  instead  of  seeing  Van  Marcke  in  it,  saw  Troyon.  For 
many  years  this  proved  a  limitation  on  him  in  the  judgment  of  the  public.  The 
formula  was  very  simple  through  which  he  was  compromised  and  was  disbarred 
from  his  rightful  estate. 

Those  who  liked  his  painting  (and  they  were  numerous)  could  find  no  better 
compliment  to  offer  him  than  to  say  :  “  It  is  worthy  of  Troyon.”  Those  who  desired 
to  underrate  his  work,  whilst,  however,  recognizing  his  incontestable  qualities,  said  : 
“Without  doubt  it  is  good,  but  it  is  only  a  reflection,  and  I  prefer  the  original.” 
When  Troyon  died  in  1865,  the  art  critics  proffered  sympathy  to  Van  Marcke,  who, 
having  no  longer  his  accustomed  counselor,  would  be  much  embarrassed.  As  usual, 
the  critics  were  wrong  ;  the  exact  reverse  resulted,  and  the  artist  achieved  his 
personality.  Normandy  was  his  chosen  sketching  ground,  where  he  purchased  a  farm 
and  successfully  speculated  in  raising  herds  of  fat  cattle.  He  painted  these  as  lost  in 
endless  content,  gravely  chewing  the  cud  of  comfort,  standing  hoof-deep  in  lush 
grasses  under  the  quietude  of  wide-spreading  heavens.  He  placed  his  animals  away 
from  the  reach  of  distempered  weather,  enclosing  them  in  atmospheres  so  serene  as 
to  give  a  heavy  dewfall  to  pasture  lands.  He  died  in  1891,  and  left  no  successor. 
His  career  was  a  splendid  culmination.  7'he  greatest  success  recorded  for  such  an 
event  was  in  the  sale  of  his  effects.  An  increasing  appreciation  marks  his  work. 


DANIEL  VIERGE  URRABIETA 


r  I  ''HE  art  of  illustration  is  that  graphic  representation  which  “sets  forth  in  a  clear 
manner  those  aspects  of  scenes  and  incidents  that  no  verbal  discription,  how¬ 
ever  elaborate,  can  give.”  While  the  art  is  ancient,  its  evolution  and  application  may 
be  said  to  be  modern— and  ours  by  right  of  conquest.  As  the  pioneer  of  that  victory 
stands  Vierge,  who  has  been  called  the  “father  of  modern  illustration.”  He  has  stood 
unrivaled  for  a  quarter  of  a  century,  and  every  stroke  of  his  stylus  is  considered  the 
production  of  a  master.  Gustave  Flaubert  compares  the  man  of  genius  to  a  powerful 
horse  tortured  by  the  cruel  spur  and  bit  of  routine,  who,  nevertheless,  forges  forward, 
bearing  along  with  him  his  reluctant  rider — humanity.  Vierge  has  been  the  witness  of 
his  own  apotheosis  and  the  development  of  his  art  to  the  point  of  picturing  living 
people  in  living  attitudes,  rendering  through  the  simple  media  of  black  and  white  the 
very  atmosphere  and  even  hues  of  color.  August  F.  Jaccaci  has  well  defined  his 
peculiar  trend  and  preeminent  gift  : 

“  Vierge  is  a  realist  in  that  he  is  a  worshiper  of  truth  ;  but  realist  is  a  mislead¬ 
ing  epithet,  embracing  as  many  sins  as  virtues.  Far  from  the  low  realism  of  the  com¬ 
monplace  and  nastiness  is  that  realism  of  Vierge  which  beautifies  all  that  it  feeds 
upon,  because  it  delights  in  dwelling  on  those  elements  of  beauty  and  goodness  exist¬ 
ing  latent  or  revealed  in  all  things.  Perhaps  the  most  personal,  and  thus  the  most 
strongly  felt,  trait  of  Vierge  is  his  faculty  of  imparting  a  sort  of  heroic  character — all 
his  own— to  his  representations  of  reality.  It  seems  as  if  there  is  more  of  the  Moor 
than  of  the  Spaniard  in  his  nature,  as  if  his  work  was  a  revelation  of  that  fine  race 
that  knows  how  to  drape  itself  in  a  rag,  and  on  whose  lips  the  honey  of  beautiful 
verses  is  born  of  a  ray  of  sunlight.  But  his  art  is  as  naturally  alert  as  it  is  dignified.” 

Under  a  stroke  of  paralysis  that  smote  his  right  side,  he  has  been  compelled  to 
teach  his  left  hand  the  craft  of  its  brother.  This  slow  process  has  at  last  resulted  in 
satisfactory  skill.  He  is  not  more  than  in  life’s  prime,  and  gives  pledge  of  deepen¬ 
ing  the  fountains  of  his  inspiration.  The  field  for  the  gifted  illustrator  is  contem¬ 
poraneous  with  every  phase  and  fact  of  life.  The  craving  of  the  multitude  is  not  for 
such  knowledge  of  events  as  comes  from  a  serious  study  of  their  rise  and  evolu¬ 
tion,  a  philosophical  searching  into  the  root-bed  of  historic  growths  ;  but  a  swift 
comprehension  of  the  speech  and  deeds  of  mankind  pictorially  presented  ;  a  brilliant 
summary  of  the  chapters  humanity  writes  under  the  daily  goings  of  the  sun.  The 
man  who  leads  the  art  of  illustration  in  these  primal  expressions  must  take  large 
space  on  the  horizon  of  the  future. 


ANTOINE  VOLLON 


HEN  the  Professor  of  Art  History  in  the  University  of  Breslau  was  asked  his 


"  ’  judgment  of  Vollon,  he  made  reply  :  “The  greatest  painter  of  still  life  in  the 
century."  Again,  Vollon  has  been  termed  “the  painter’s  painter,”  so  richly  defined, 
so  preciously  pedantic  is  this  artist. 

He  was  born  in  1833  at  Lyons,  and  is  a  pupil  of  Ribot.  He  was  at  first  rejected 
by  the  Salon,  but  with  unfailing  courage  knocked  again  and  again  against  the  clamps 
of  professional  stupidity.  These  were  broken  in  1865,  when  he  was  awarded  a  medal. 
In  1868  and  1869  came  other  medals  ;  in  1878  one  of  the  first  class.  It  was  in  this 
year  that  the  officership  of  the  Legion  of  Honor  fell  to  him.  A  study  of  two  fish  won 
the  red  ribbon  ;  this  picture  was  purchased  by  the  government,  and  is  in  the  Luxem¬ 
bourg.  In  1897  he  was  elected  a  Member  of  the  Institute  of  France.  He  has  founded 
a  school  of  painting  in  which  still  life  is  raised  to  the  dignity  of  history.  The  acces¬ 
sories  to  his  themes  are  as  finely  handled  as  the  propositions.  “He  paints  dead  salt¬ 
water  fish  like  Abraham  Van  Beyeren  ;  grapes  and  crystal  goblets  like  Davids  de 
Heem,  dead  game  like  Frans  Snyders.”  He  is  the  master  in  the  representation  of 
freshly  gathered  flowers,  crisp  vegetables,  copper  kettles,  weapons,  and  suits  of 
armor.  With  breadth  of  treatment  he  obtains  equally  power  of  realization.  Vollon 
amazed  everybody  at  the  Salon  of  1876  with  a  single  life-sized  female  figure,  “A 
Fisher  Girl  of  Dieppe,”  painted  with  exceeding  power. 

In  1877  he  appeared  again  in  a  new  phase.  Instead  of  pots,  kettles,  old  armor, 
or  jeweled  glass  filled  with  half-transparent  fruits,  he  treats  a  landscape  subject. 
It  is  a  dreary  reach  of  country,  with  long  sweep  of  road,  extending  afar  into  the  hori¬ 
zon,  upon  which  a  horseman  is  galloping  ;  a  few  houses  at  the  side,  giving  human 
touch  to  the  expanse.  The  chief  values  are  found  in  the  sky,  where  squadrons  of 
clouds  are  scurrying  before  a  furious  wind,  tumbling  and  torn.  The  blast,  that  whips 
the  flying  vapors,  twists  at  the  traveler’s  cloak,  who,  with  bent  head,  seeks  to  gain 
his  goal.  It  is  a  weird,  impressive  canvas,  all  the  more  so  because  a  distinct 
departure  from  the  path  the  artist  is  accustomed  to  tread.  To  be  so  versatile  carries 
a  temptation  to  superficiality,  to  which  artists  have  not  unfrequently  yielded.  Vollon 
never  is  less  than  perfect  in  the  patient  technique  with  which  he  unfolds  and 
accents  his  theme. 


OTTO  WEBER 


A  GERMAN  artist,  whose  rank  is  in  the  class  with  the  Bonheurs.  He  was  born  at 
Berlin,  and  killed  in  the  Franco-Prussian  war  of  1870.  In  his  native  city  he  was 
under  Steffeck,  and  in  Paris  a  pupil  of  the  great  Couture.  For  a  number  of  years  his 
studio  was  in  Milan.  His  medals  cante  in  the  years  1864  and  1869.  The  range  of  his 
subjects  was  wide  ;  in  each  example  he  manifested  an  equal  faculty  for  successful  treat¬ 
ment.  It  is  unusual  to  find  a  Teutonic  artist  who  can  quickly  adjust  his  canvas  to  such 
marked  variations  of  expression.  His  “Ox  Team,”  “The  Deer  Quarry,”  “  F£te  in 
Brittany,”  and  “The  Haygathering”  show  plastic  power  in  an  unusual  degree. 
Whether  handling  figures  or  landscapes,  he  was  equally  happy. 


Two  of  his  pictures  are  in  the  Luxembourg.  Some  years  ago  he  exhibited  in 
London,  Suffolk  Street  Gallery*  a  work  which  firmly  settled  his  grasp  upon  English 
regard.  The  scene  represented  Bavarian  peasants  bringing  their  cattle  down  from  the 
mountains.  In  ease  of  manipulation,  living  postures,  keen  accuracy,  supreme  excel¬ 
lence  of  landscape,  ranging  from  green  valleys  to  mountain-peaks  covered  with  snow, 
it  was  an  example  worthy  of  Troyon. 


EDUARDO  ZAMACOiS 


DAWN  suddenly  fading  on  the  forehead  of  heaven  ;  a  summer-tide  swiftly 


stemmed  and  frozen;  a  warrior,  with  his  combat  just  fairly  on,  stricken  down;  a 
singer,  his  voice  shattered  into  silence,  while  the  sweeter  half  of  the  strain  is  yet  in  his 
soul.  Thus  Death  lost  to  us  Regnault,  Fortuny,  and  Zamacoi's.  He  was  born  at  Bilboa 
in  1840;  was  trained  in  Paris  under  Meissonier;  entered  the  Salon  in  1863,  when  he 
startled  the  art  public  with  the  brilliancy  of  a  meteor.  He  was  medaled  in  1867.  His 
first  picture  was  the  “  Enlisting  of  Cervantes.”  In  1864  he  set  forth  the  “Conscripts  in 
Spain”  ;  in  1866,  “  The  Entrance  of  the  Toreros”  (painted  in  part  by  Vibert);  in  1870, 
his  remarkable  canvas,  “  The  Education  of  a  Prince.” 


Eugene  Benson’s  monograph  upon  Zamacois  carries  the  force  of  dramatic  fervor : 
“Zamacois,  with  a  manner  almost  as  perfect  as  Meissonier’s,  is  a  satirist  ;  he  is  a 
man  of  wit.  1  should  suggest  the  form  and  substance  of  his  works  as  a  painter  by 
saying  that  he  has  done  what  Browning  did  as  a  poet  when  he  wrote  the  ‘  Soliloquy  of 
the  Spanish  Cloister.  ’  .  .  .  It  is  manifest  that  Zamacois  admires  Moliere;  that  he 

appreciates  the  picturesque  side  of  Victor  Hugo’s  genius.  Zamacois  does  with  form 
and  color  what  Tennyson  does  with  words — that  is  to  say,  he  combines  them  in  a 
studied  and  jeweled  style,  to  express  his  pleasure  in  intense  and  brilliant  things.  But 
he  has  wit,  and  no  one  would  accuse  Tennyson  of  that  Gallic  trait.  Therefore,  to  make 
you  acquainted  with  Zamacois,  1  must  say  he  has  a  suspicion  of  malice  that  must  be 
delightful  to  the  compatriots  of  Voltaire  ;  that  he  is  bold  and  positive  in  his  conceptions 
and  tine  and  elaborate  in  his  expressions. 

“His  color  was  pure  and  intense,  his  style  finished  and  tine.  It  was  not 
enough  for  him  to  make  his  point,  but  he  must  also  make  it  as  perfectly  and  completely 
as  he  possibly  could.  Like  Moliere,  with  whose  genius  that  of  Zamacoi's  displays  a 
decided  affinity,  the  effect  of  the  artist’s  work  was  always  allied  with  and  supported  by 
the  extremest  elegance  of  execution.  He  was  fond  of  daring  experiments  of  color,  and 
his  pictures  were  a  perpetual  amazement  and  delight  to  artists  more  timid  and  less 
original,  who  acknowledged  in  the  fiery  young  genius  from  Bilboa  one  worthy  to  take 
his  place  among  those  masters  whom  Paris  was  proud  to  call  her  own,  irrespective  of 
their  birth  or  blood.  When  the  war-cloud  burst  over  France,  Zamacois  stood  with  his 
future  in  his  grasp  and  the  shadow  of  doom  upon  him.  After  the  wreck  was  cleared, 
when  French  art  numbered  its  dead,  there  was  to  be  supplemented  to  those  who  had 
perished  upon  the  field  of  battle  the  Spaniard  who  had  become  a  Parisian,  and  who, 
flying  before  the  blasts  of  battle,  had  succumbed  to  the  mortal  malady  which  had 
prevented  his  serving  with  his.  brethren  in  the  ranks.” 

Under  date  of  January  30,  1871,  at  Granada,  Fortuny  sends  this  message  to 
Mr.  W.  H.  Stewart  :  “I  wish  to  write  to  you  of  the  death  of  Zamacois,  but  I  was  so 
full  of  sorrow  that  my  courage  failed.  I  cannot  yet  believe  that  I  shall  never  see  him 
again,  and  it  will  be  hard  to  fill  his  place  in  my  remembrance.”  Mr.  Stewart,  writing 
to  Baron  Davillier,  says  :  “I  heard  of  Mariano  Fortuny  for  the  first  time  in  January, 
1868,  through  Eduardo  Zamacoi's,  the  much  lamented  and  talented  artist,  who  died  at 
Madrid  January  1 2,  1871,  at  the  early  age  of  twenty-nine.”  It  was  this  brilliant  artist 
who  attended  Mr.  Stewart  on  his  tour  to  Rome,  that  he  might,  in  propria  persona , 
present  him  to  Fortuny. 

To  symbol  the  art  of  Zamacois  one  must  find  an  ancient  Damascus  blade  of 
tempered  steel  with  the  sinister  blue  gleam  on  its  edge,  the  hilt  set  with  blood  rubies. 


Wesley  Reid  Davis. 


CATALOGUE  RAISONNE 


CATALOGUE 


FIRST  NIGHT'S  SALE 


THURSDAY,  FEBRUARY  3d,  1898,  AT  CHICKERING  HALL 

BEGINNING  AT  8:15  O’CLOCK 


BELLANGE 

(Joseph  Louis  Hippolyte) 

1800-1866 

No.  I 

Military  Sketches 


/)  CnJL//k-^>  ■'VO  'Ll* 


Pen-and-ink  sketches, 
group  of  military  officers. 

Signed  at  the  right. 


A  squad  of  cavalry  charging,  an  old  man,  and  a 

Height,  9  inches;  length,  12  inches. 


GREGORY 

(Edward  John) 

No.  2 

The  War  in  the  East 


8 


-0 


0 (1-1  t  6  *  Cr  £ 


u 


Drawing 

An  episode  of  the  war  in  the  East.  The  scene  is  dramatic,  and  represents  a 
field  hospital  where  a  wounded  soldier  has  been  brought  for  treatment.  He  lies  on 
a  litter  over  which  bends  a  doctor  of  the  Red  Cross  service,  while  several  comrades 
hold  the  unfortunate  so  that  the  physician  can  better  make  his  diagnosis.  To  the 
right  stands  a  soldier  with  a  water  jug. 

Signed  at  the  left. 


Height,  9  inches  ;  length,  12  inches. 


PILLE 


( 


(Henri) 


No.  3 

Lansquenets 

Pen  and  Ink 


This  is  a  clever  drawing  by  the  able  Frenchman,  in  his  familiar  manner  and 
of  a  subject  he  delighted  to  work  out.  It  represents  a  parade  of  famous,  or  infamous, 
foot  soldiers  of  the  sixteenth  or  seventeenth  century,  marching  through  Paris.  The 
abandon  and  the  swaggering  air  of  these  rapscallions  are  well  expressed,  and  to  the 
interest  of  the  historical  fact  there  is  the  dexterous  use  of  the  medium  that  has 
made  the  artist  famous. 

Height,  13^  inches  ;  width,  83^  inches. 

Signed  at  the  left.  Dated  1869. 


SMALL 

(William) 

No.  4 


A  Plowing  Match 

Drawing 


An  original  black-and-white  drawing  in  body  color.  The  scene  is  locally 
English  and  represents  a  bout  between  farmers  at  the  furrows.  In  the  foreground 
is  a  plowman  with  a  team  of  three  horses,  and  on  the  hillside  others  are  dis¬ 
tributed.  Groups  of  spectators  watch  the  contest,  and  over  all  is  a  sky,  gray  and 
lowering. 

Height,  143^  inches  ;  length,  21  inches. 

Signed  at  the  right. 


FORTUNY 


(Mariano) 

1838-1874 

No.  5 

Corpus  Christ! 

A  study  in  brown  for  a  composition.  Two  figures  in  the  center  hold  up 
a  crucifix.  Two  drummers  follow.  In  front  the  Monks  carry  lighted  tapers. 
A  line  of  buildings  is  behind  and  on  a  sign  is  displayed  “Cafe  de  Las  Caseras.” 

An  interesting  incident  connected  with  the  above  study  is  mentioned  in  the 
monograph  on  Fortuny. 

Height,  15  inches  ;  length,  23^  inches. 

Signed  at  the  right.  Dated  1869. 


y/y 

Pol  yy  $uu)[  l  i<  'Ity 


HARPIGNIES 

(Henri) 

No.  6 

Autumn.  Castle  of  San  Angelo 

Water  Color 

A  dainty  little  landscape  study  by  the  famous  master.  The  fall  tints  are 
happily  suggested,  and  the  remodeled  mausoleum  stands  out  in  bold  lelief  against 
a  warm,  glowing  sky,  with  some  softly  suggested  trees. 

Height,  6^  inches  ;  length,  9  inches. 


Signed  at  the  left.  Dated  1864- 


CHAM 


A 

/  % 

(Comte  Amedee  de  Nod) 

1819-1879 


No.  7 

The  Commune 

* 

Water  Color 

Interesting  sketch  of  some  Paris  characters,  somewhat  more  serious  than 
was  usual  with  the  famous  Parisian  caricaturist,  so  well  known  under  the  Third 
Empire.  The  two  ragpickers  are  cleverly  indicated  and  the  color  is  just.  Originals 
by  this  artist  are  rarely  seen  in  this  country. 

Height,  y)/z  inches  ;  width,  8  inches. 

Signed  at  the  left. 


CLAYS 


(Paul  Jean) 


No.  8 

On  the  Coast 


Water  Color 


Characteristic  scene  on  the  Holland  coast.  Some  heavy,  stolid  Dutch  luggers 
with  sails  of  red  and  yellow  are  in  the  center,  while  to  the  right  is  a  lighthouse,  to 
the  left  some  rowboats.  Over  all  is  a  gray  sky  with  bits  of  light  here  and  there. 

Height,  13X  inches  ;  width,  inches. 

Jj  0  •  ^  * 


Signed  at  the  right.  Dated  1865. 


MENZEL 

(Adolf  Frederic  Erdmann) 

No.  9 

The  Stirrup  Cup 

Water  Color 

A  delightful  and  thoroughly  characteristic  picture  by  the  famous  German 
master.  It  portrays  two  horsemen  in  coats  of  mail  stopping  before  an  inn,  drink¬ 
ing  from  a  big  cup.  They  are  on  their  steeds,  beneath  the  shadow  of  a  large  tree  ; 
and  at  the  window  of  the  inn,  a  woman  and  child  sit  looking  at  them.  The  men 
have  all  the  heartiness  and  swashbuckle  air  of  their  time  and  the  expression  on  their 
faces  is  remarkably  well  painted.  The  face  of  the  trooper  to  the  right  of  the 
picture  is  a  study,  being  worked  up  to  a  high  degree  of  finish,  while  the  painting 
of  the  horses  and  the  mail  is  no  less  able.  The  composition  is  interesting  and 
the  technique  is  astonishing  in  its  detail,  without  the  sacrifice  of  any  of  the  larger 
qualities  that  go  to  the  making  of  an  important  work. 

Height,  8}4  inches;  length,  12  inches. 

Signed  at  the  right.  Dated  1875. 


FORTUNY 

(Mariano) 

1838-1874 


No.  10 


£  d'  fSb  ■?  £-/  lOsyi.ctlCJ 

J 


Study  of  Flowers 

Water  Color 


A  careful  study  from  nature  in  the  artist’s  masterly  and  highly  searched 
manner.  Some  poppies  with  the  long  stalks  and  leaves,  drawn  on  gray  paper  in 
body  color. 

Height,  10  inches  ;  width,  8%  inches. 

Seal  at  the  left. 


HEILBUTH 


(Ferdinand) 

No.  U 

Monte  Pincio 

Water  Color 

The  scene  is  laid  in  the  famous  gardens  of  the  Pincian  Hills.  In  the  distance 
Rome  stretches  out  and  St.  Peter’s  is  seen  vaguely  in  the  hazy  light.  Two  cardinals 
in  the  center  of  the  composition  are  meeting  on  the  terrace  and  gravely  bowing 
to  each  other  with  courtly  elegance,  their  servants  standing  in  groups  behind  them. 
Although  the  picture  is  small,  it  is  treated  with  great  simplicity  and  breadth  and 
the  color  scheme  is  one  of  pleasing  delicacy. 

Height,  7%  inches  ;  length,  \2]4  inches. 

Signed  at  the  right. 


RICO 

(Martin) 


No.  \2 

Venetian  Canal  with  View  of  Veronese’s  Tomb 

A  familiar  view  of  the  well-known  monument,  rising  up  behind  some  houses 
in  sunlight  ;  a  bridge  is  to  the  right  and  a  gondola  and  a  group  of  trees  to  the  left.  In 
the  right  center  there  is  a  rowboat  containing  two  men  and  a  woman.  The  sky  is 
blue  with  a  suspicion  of  hazy,  white  clouds.  Much  detail  is  shown  throughout  the 
panel. 

Signed  at  the  left. 


Height,  inches;  length,  inches. 


ALMA-TADEMA 

(Laurenz) 


0  6 


y 


No.  J3 


Roman  Youth  Reading  Horace 


Upon  a  long  marble  seat  covered  with  skins  and  cushions,  a  young  Roman  sits 
reading  a  book.  He  is  robed  in  white  and  purple,  while  the  sunlight  from  the 
blue  sky  above  him  flecks  the  edge  of  his  robe  and  sends  some  of  its  brilliancy 


on  the  stone  floor,  the  rest  of  the  figure  and  accessories  being  in  cool  shadow. 


There  is  the  artist’s  usual  skillful  rendering  of  marble  and  textures,  with  much 
expression  to  the  man’s  face,  upon  which  plays  a  look  of  pleasant  interest. 


Height,  ^  itii-'npQ  •  Ipntrth  n  1/  inches. 


Signed  at  the  left.  Dated  1882. 


RIBERA 


(Roman) 


No.  14 


Cafe  Chantant 


A  wonderfully  clever  piece  of  character  painting.  On  the  stage  of  a  pro¬ 
vincial  concert  hall  a  singer,  dressed  as  a  soldier,  is  performing  his  act.  Beneath 
him  are  seen  the  orchestra  and  a  few  of  the  audience,  each  face  and  figure 
being  a  careful  study  from  life.  The  backs  of  a  man  and  a  woman  to  the  right 
are  very  expressive.  A  drummer,  a  violinist,  and  a  flute  player,  are  all  worked 
up  to  almost  photographic  detail,  and  yet  withal  the  panel  is  broadly  treated. 


Signed  at  the  right.  Dated  1876. 


Height,  9%  inches  ;  length,  12^  inches. 


* 


BOLDINI 

(Giovanni) 


w 

No.  15 

River  Seine  at  Mont -Valerian 

A  beautiful  glimpse  of  the  attractive  French  river  under  an  effect  of  early  sum¬ 
mer,  with  tender  greens  and  the  sparkle  of  sunlight.  The  city  stretches  off  to  the 
right,  some  trees  and  a  pleasure  garden  are  to  the  left,  and  in  the  immediate  fore¬ 
ground  are  a  few  boats,  in  one  of  which  is  a  woman.  Other  boats  dot  the  river  here 
and  there,  and  ducks  are  swimming  about.  The  sky  is  beautifully  painted,  and 
the  detail,  though  microscopic,  is  carried  out  broadly  enough  to  avoid  any  feeling 
of  dryness. 

Height,  8}4  inches;  width,  6%  inches. 

Signed  at  the  left.  Dated  1877. 


FORTUNY 

(Mariano) 

1838-1874 


No.  \6 

The  Arquebusler 


The  charm  of  Fortuny’s  amazing  technique  is  nowhere  more  apparent  than  in 
this  famous  panel  of  a  single  figure  of  an  old  soldier  who  stands  leaning  on  his  rest 
or  croc  with  one  hand,  while  on  his  shoulder  is  the  arquebus,  the  quaint,  clumsy  gun 
of  the  middle  ages.  He  is  also  armed  with  a  big  sword.  The  soldier  is  dressed  in 
the  astonishing  garb  of  the  period.  He  wears  a  doublet  of  green,  knee  breeches  of 
red  velvet,  blue  stockings,  and  a  steel  breast-plate,  the  incongruity  of  which  is 
emphasized  by  the  exquisite  fidelity  of  the  painting,  a  wonderful  piece  of  realism. 
The  man-at-arms  has  a  head  fit  for  strategy  and  crime  ;  his  rumpled  hair  and 
frowsy  face  betoken  a  dangerous  foe. 

Height,  9>4  inches  ;  width,  6^  inches. 

Signed  at  the  left.  Dated  1871. 


MOORE 


(H.  Humphrey) 


No.  \1 

Banks  of  a  River 

Mr.  Moore  has  painted  here  a  delightful  little  characteristically  Japanese  land¬ 
scape,  intensely  decorative  and  thoroughly  realistic.  The  branches  of  a  graceful 
tree  curl  and  twist  curiously  across  the  front  and  top  of  the  picture,  while  on 
the  other  side  of  the  stream  which  crosses  the  panel  is  the  flowering  bank  of  a 
beautifully  cultivated  garden  full  of  delicate  color,  with  here  and  there  some  pagodas 
or  sculpture. 

Height,  inches  ;  width,  inches. 

Signed  at  the  left. 


BONVIN 

(L£on) 

1834-1866 

NO',S  /.  <?.  JcJmr 

Wild  Flowers 


Water  Color 

A  study  of  growing  plants  and  bushes,  with  a  bit  of  delicate  distance  to  the 
left.  The  careful  observation  and  severe  analysis  that  always  characterize  this  artist’s 
work  are  apparent  here,  each  detail  being  thoughtfully  worked  out  and  drawn  with 
exquisite  fidelity. 

Height,  inches ;  width,  7^  inches. 

Signed  at  the  right.  Dated  1864. 


BONINGTON 


(Richard  Parkes) 

1801-1828 

No.  \9 

View  of  Old  Paris 

Water  Color 

A  delicate,  colorful  little  drawing  of  the  river  Seine,  with  the  old  bridge  of 
stone  leading  to  the  Cathedral  of  Notre  Dame.  The  quays  are  shown,  also  the  road 
by  the  stream.  Paris  vaguely  looms  up  in  the  distance. 

Height,  5^  inches;  length,  8%  inches. 

Signed  at  the  right.  Dated  1827. 


loro 

( .  J)  tcU  t 


RICO 

(Martin) 


No.  20 


Fisherman,  Seville 


Water  Color 


A  bit  of  river  landscape,  with  a  group  of  willow  trees  to  the  right,  and  in  the 
center  a  boat  in  which  a  peasant  stands  fishing.  On  the  bank  beside  him  is  a  group  of 
women  and  children  sitting  by  and  watching  his  efforts.  Distant  houses  peep  out 
through  the  trees  at  the  back  of  the  picture,  while  a  blue  sky  flecked  with  white 
clouds  is  reflected  in  the  river. 

Height,  14 inches  ;  length,  21  inches. 

Signed  at  the  right. 


BOLDINI 


Q- 


(Giovanni)  Jf. . rf",  (. 

yj  &-  o 


No.  2\ 

The  Rest  at  the  Studio 


Water  Color 


A  characteristic  composition  by  the  dexterous  Italian.  The  scene  is  the 
interior  of  a  studio.  A  model  has  thrown  herself  down  on  a  sofa  in  a  pose  much 
chosen  by  Boldini  for  his  pictures.  Her  feet  rest  on  a  little  taboret,  and  a  white 
gown  furnished  opportunity  for  the  skill  of  the  artist  in  painting  draperies.  Behind 
the  woman  is  an  easel  and  behind  that  a  piano,  all  properly  placed,  leaving  the 
interest  concentrated  on  the  figure. 

Height,  inches  ;  length,  13^  inches. 

Signed  at  the  left.  Dated  1873. 


WEBER 

(Otto) 
Died  1870 


Jr  J.  Jj .  &?rc. M 


No.  22 

Plowing 

Water  Color 


Two  sturdy  white  horses  are  dragging  a  plow  through  the  earth  on  a  hillside. 
Apple  trees  are  to  the  left,  and  in  the  distance  is  seen  a  little  valley,  a  barn,  and  an 
apple  orchard.  The  sky  is  of  late  afternoon  gray,  with  a  streak  of  light  at  the 
horizon.  The  horses  are  drawn  and  painted  with  consummate  knowledge  and 
much  skill. 

Height,  loif  inches  ;  length,  20 ){  inches. 

Signed  at  the  right. 


MESZOLY 


(Giza,  von) 


No.  23 

Farm  Scene 

On  a  low,  flat  stretch  of  country  is  seen  a  group  of  farm  buildings.  The 

farm-yard  is  in  the  foreground  and  a  pig  is  seen  rooting  therein,  while  some 

ducks  are  swimming  in  a  nearby  pond.  Some  sunlight  finds  its  way  through  a 

gray  sky,  striking  the  white  house  and  the  haystacks.  The  figure  of  a  child  is 

to  the  left  center.  The  picture  is  carefully  painted  in  much  interesting  detail, 

though  not  without  vigor  and  breadth. 

* 

Height,  12^  inches;  length,  20 inches. 

Signed  at  the  center.  Dated  1882. 


ft  J 


ZAMACOi'S 

(Eduardo) 

1840-1871 


No.  24 


Fortuny's  Model 


An  able  sketch  of  a  woman  lying,  full  length,  on  a  red  draped  divan.  She 
is  covered  with  a  white-and-blue  drapery.  A  bare  arm  is  extended  along  the  seat ; 
the  light  comes  from  the  top  and  is  interestingly  distributed.  It  is  a  vigorous 
ebauche,  deftly  laid  in  and  full  of  feeling. 

Height,  10  inches;  length,  15  inches. 

Signed  at  the  upper  right. 


PARSONS 

(Alfred) 


0  0  — 


No.  25 

English  Landscape 

The  subject  is  a  hillside  with  bare  trees.  A  general  sense  of  autumn  prevails. 
Through  the  middle  of  the  picture  runs  a  stream  of  water,  and  some  ducks  are  to 
the  left.  The  sky  is  gray,  with  a  light  streak  along  the  horizon.  The  landscape 
forms  are  carefully  drawn,  the  general  anatomy  of  the  trees  being  thoroughly  under¬ 
stood  and  well  expressed.  The  sobriety  of  the  season,  the  general  feeling  of  the 
time  and  place,  are  the  result  of  careful  observation  and  full  appreciation  of  nature. 

Height,  14  inches;  length,  18  inches. 

Signed  at  the  right. 


MADRAZO 

(Raymundo  de) 


No.  26 

Woman  and  Parrot 


ASt  A 


t 


Engrossed  with  portrait  work  in  recent  years,  it  is  seldom  one  has  a  chance 
to  see  genre  pictures  by  this  able  Spanish  painter,  so  that  this  work  comes  as  a 
revelation.  It  represents  a  luxurious  interior  hung  with  tapestry,  wherein  a  woman 
dressed  in  yellow,  with  an  embroidered  shawl  hanging  loosely  over  her  shoulders, 
sits  playing  a  guitar,  her  feet  resting  on  an  orange-colored  cushion.  On  a  perch 
beside  her  is  a  white  cockatoo,  who  strains  forward  to  catch  the  ribbons  on  the 
end  of  her  instrument.  Though  broadly  painted  throughout,  there  is  a  pleasing 
sense  of  detail,  and  the  head  and  hands  of  the  woman  are  carried  very  far  as  to 
'  finish,  suggesting  work  of  the  careful  seventeenth  century  Dutchmen. 

Height,  19  inches;  width,  15  inches. 

Signed  at  the  left. 


FORTUNY 


j  JZO  00-  / 

(Mariano) 

1838-1874 

/w ZfoJjjs  r 

c7  (J  ywj  *** 

J (  (0»./  h'tn  0 

No.  27 

Arab  Fantasia 

A  picture,  one  of  the  early  envois  sent  by  the  artist  to  the  Paris  dealer  Goupil, 
from  Rome,  and  the  first  of  his  work  that  Mr.  Stewart  purchased,  in  which  the 
seemingly  impossible  expression  of  terrific  action  has  been  realized.  It  represents 
a  group  of  swarthy  Arab  warriors  giving  themselves  up  to  a  whirling,  insane, 
howling  dance.  Some  with  long,  decorative  Arab  guns  are  shooting  at  the  earth  ; 
others  are  swinging  similar  weapons  about  their  heads,  and  they  are  regarded 
with  great  interest  by  a  crowd  of  spectators,  comprising  sheiks,  soiaiers,  idlers,  and 
others,  who  stand  about  in  white  and  colored  robes.  One  of  the  observers  is  mounted 
on  his  horse,  the  animal  showing  much  nervousness.  Fortuny  has  conveyed  an 
astonishing  sense  of  the  action  and  wildness  of  the  scene,  faithfully  reproducing  the 
general  character  of  the  race.  The  picture  has  been  called,  with  justice,  “  a  veritable 
feat  of  dash  of  dazzling  color  and  energetic  movement.” 

“  ZamacoTs  brought  me  word  that  the  dealers  had  an  oil  painting  by  Fortuny, 
and  I  must  at  once  go  with  him  to  see  it.  We  started  on  the  instant,  and  found, 
at  the  Rue  Chaptral,  the  ‘  Fantaisie  Arabe.’  My  companion  (Zamacois)  went  into 
ecstasies,  calling  it  ‘fireworks,’  ‘a  pearl,’  ‘jewels,’  etc.,  at  the  same  time  whisper¬ 
ing  to  me  to  buy  it,  and  not  let  it  slip  at  any  price.” — Reminiscences  of  Fortuny, 
by  IV.  H.  Stewart. 

Height,  20  inches  ;  length,  26  inches. 

Signed  at  the  right.  Dated  1867. 


STEVENS 

(Alfred) 


JJO  O' 


No.  28 

Alsace 


Against  an  open  window,  looking  yearningly  into  space,  a  beautiful  young 
Alsatian  maiden,  dressed  in  the  picturesque  costume  of  her  province,  stands  musing. 
The  light  coming  through  the  casement  illumines  her  face  and  dress,  and  is  delight¬ 
fully  arranged  for  pictorial  purposes.  The  face  has  great  charm,  and  the  thoughts 
that  are  in  her  mind  may  easily  be  guessed.  The  painting  is  sympathetic,  graceful, 
and  full  of  poetic  sentiment. 

Height,  21^  inches  ;  width,  18  inches. 

Signed  at  the  left. 


MACCARI 


(Cesare) 


No.  29 


Women  at  Raphael's  Tomb 


Water  Color 


The  picture  represents  a  corner  of  the  Pantheon,  in  Rome,  where  the  great 
Umbrian  lies  buried.  Two  women  in  the  fashionable  costume  of  a  quarter  century 
ago  stand  reading  the  inscription  on  the  marble.  The  cleverness  of  the  Italian 
school  of  water  colorists  has  long  been  acknowledged,  and  the  present  example 
gives  a  reason  therefor.  The  work  is  highly  finished  though  kept  broad,  and  the 
figures  are  drawn  with  astonishing  cleverness,  while  all  the  detail  is  treated  realisti¬ 
cally.  The  marble  of  the  pillars,  the  carpet  on  the  floor,  and  the  many  little  objects 
of  minor  importance  that  go  to  make  up  the  whole  are  all  placed  with  artistic  judg¬ 
ment  and  dexterity,  There  is  also  a  feeling  of  light  and  air  throughout  the  edifice. 


Signed  at  the  right. 


Height,  20 inches  ;  width,  14X  inches. 


^  i — 

3  5  0 


RICO 


(Martin) 

No.  30 

Boats  at  Poissy 

Water  Color 

A  characteristic  group  of  old  canal-boats  moored  to  the  bank  of  the  Seine,  at 
the  famous  village  of  Poissy.  The  lines  are  picturesque  and  the  tones  of  the  craft 
are  sober,  with  here  and  there  a  note  of  bright  color  given  to  the  boatmen  and 
women.  To  the  right,  on  the  bank,  some  children  are  playing,  while  in  the  dis¬ 
tance  a  delicate  line  of  shore  is  outlined  in  tender,  hazy  colors.  The  gray-blue 
sky  is  accented  with  soft  white  clouds. 

Height,  inches  ;  length,  13^  inches. 

Signed  at  the  right. 


FORTUNY 

(Mariano) 

1838-1874 


No.  l\ 

Italian  Peasant  Girl 

Water  Color 


A  young  girl  in  picturesque  peasant  dress  stands  with  arms  akimbo  beside 
a  well.  The  white  head-dress  and  waist  are  in  striking  contrast  to  the  dark  red  of 
the  skirt  and  the  deep  blue  of  the  scarf  against  the  stone  wall.  Back  of  her  is  a 
sky  of  blue,  with  white  clouds.  The  drawing  is  delicate  and  true  in  its  expres¬ 
sion  of  femininity. 

Height,  203^  inches;  width,  14 inches. 

Signed  at  the  upper  right.  Dated  1867. 


ARCOS 

(Santiago) 


No.  32 


Buffoon 

Water  Color 


A  figure  of  a  court  jester,  clad  in  a  brilliant  scarlet  suit  of  tights  and  doublet, 
lolls  asleep  on  a  table  covered  with  a  green  cloth  that  has  partly  been  pushed  to 
one  side,  where  it  hangs  in  big  folds.  One  of  the  jester’s  feet  is  drawn  up  under 
him,  the  other  hangs  down  along  the  edge  of  the  table.  In  one  of  his  hands, 
which  are  crossed  on  his  lap,  he  holds  a  stick  with  a  fool’s  head  thereon.  To 
the  right  is  a  large  carved  wood  armchair,  and  behind  the  buffoon,  on  the  wall, 
as  a  background,  is  a  handsome  piece  of  tapestry.  The  picture  is  highly  finished, 
each  detail  being  skillfully  worked  out,  and  all  the  surrounding  still  life  has  been 
carefully  placed  and  as  carefully  executed. 


“  Arcos  made  studies  of  many  figures  for  his  painting,  ‘The  Court  of  Henry 
III./  among  these  a  ‘buffoon.’  The  model  who  posed  for  such  a  person  one  day 
arrived  in  a  complete  state  of  inebriety.  Having  put  on  his  costume,  he  fell  asleep 
upon  a  table.  At  that  moment  Mr.  Stewart  entered  the  studio — he  was  fond  of  fol¬ 
lowing  the  work  of  the  younger  artists  and  encouraging  them.  With  his  usual  good 
humor,  seeing  the  sleeper,  he  exclaimed,  ‘He  is  perfect  like  this  ;  make  a  water 
color  of  him.’  The  greater  part  of  the  work  was  painted  during  this  seance  and 
the  model’s  slumber.  Mr.  Stewart,  desiring  to  purchase  the  picture,  sent  M.  Arcos 
double  the  price  fixed.” 

Height,  i ()YZ  inches  ;  width,  13^  inches. 

Signed  at  the  right.  Dated  1873. 


St) 


0  06  0 


COROT 


(Jean  Baptiste  Camille) 

f  f 

1796-1875 


No.  33 

Ville  cTAvray 

A  glimpse  of  the  favorite  sketching  ground  of  the  great  French  master.  To 
the  left  is  a  willow  tree,  and  behind  the  stream  that  runs  across  the  picture  there  rises 
a  hill,  on  which  a  white  house  catches  the  sunlight.  In  the  middle  of  the  picture  is 
the  figure  of  a  woman.  The  delicate,  harmonious  color-sense  of  the  famous  land¬ 
scapist  is  expressed  here  in  his  happiest  manner.  Mr.  Stewart  made  a  personal  visit 
to  Corot’s  studio  in  1869  and  purchased  this  example,  since  which  time  it  has  never 
left  his  possession. 

Signed  at  the  right. 


Height,  wyi  inches;  length,  1 6yz  inches. 

Jo  - 


o 


’  f) 


TROYON 

C/t^m  (tt  (  U  7‘t  rfO? 

(Constant) 


1810-1865 


No.  34 

Valley  of  the  Toucques 


An  attractive  study  of  two  cattle  lying  down  in  a  field  that  spreads  out  to 
the  distant  hills  in  the  background.  A  most  harmonious  arrangement  of  color  gives 
much  sentiment  to  the  scene,  and  the  cattle  are  indicated  in  a  simple  but  masterly 
manner,  characteristic  of  Troyon. 

Height,  xiyi  inches;  length,  17^  inches. 

J2-9 


Seal  at  the  left. 


/y  #  7  <j  (y  faa  *  x  /  f 

DAUBIGNY 

(Charles  Francois) 

1817-1878 

No.  35 

Auvers  on  the  Oise 

A  stretch  of  smiling  country  under  a  brilliant  summer  sky  is  spread  out  before 
the  spectator.  To  the  right  the  river  winds  back  to  the  distant  hills,  and  is  lost 
behind  a  line  of  trees,  through  which  may  be  seen  here  and  there  the  red  roofs  of 
picturesque  village  houses.  A  woman  in  the  foreground  walks  toward  the  stream, 
driving  some  geese.  The  bank  is  full  of  verdure  and  grasses,  painted  in  those 
soft,  tender  tones  of  green  the  artist  knew  so  well.  The  landscape  is  drawn  with 
consummate  knowledge,  with  a  full  appreciation  of  the  forms  and  subtleties  of  nature, 
while  the  disposition  of  light  and  shade  is  masterly.  The  master’s  artistic  perception 
of  beauty  of  line,  of  interesting  motive,  and  appealing  arrangement  are  all  here. 

Height,  15^  inches;  length,  26^  inches. 

Signed  at  the  left.  Dated  1864. 

32  *  6-T 


NITTIS 

(Giuseppe  de) 

1846-1884 

No.  3  6 

Lowlands  Near  Naples 

A  flat  stretch  of  water,  with  low-lying  distance,  and  long  graceful  weeds  in 
the  foreground.  A  crane  has  started  up  at  the  right,  and  the  sun  coming  through 
the  clouds  makes  a  blaze  of  light  on  the  distant  water.  There  is  throughout  a 
charming  sense  of  pearly,  luminous  grays,  while  all  the  characteristics  of  marsh¬ 
land  are  faithfully  portrayed. 

Height,  9^  inches ;  length,  24  inches. 


Signed  at  the  left.  Dated  1873. 


MADRAZO 


(Raymundo  de) 


No.  37 

Woman  and  Guitar 

Seated  in  an  easy  chair  in  a  garden,  leaning  back  coquettishly,  a  Spanish 
lady  is  seated  with  a  guitar.  She  is  handsomely  gowned  in  an  evening  dress  of 
pink  silk,  while  about  her  neck  and  shoulders  is  a  red  silk  scarf.  A  rose-bush  is  to 
her  right,  and  a  tree  to  her  left.  The  pose  is  graceful  and  natural,  the  woman 
bears  the  stamp  of  aristocratic  elegance,  and  the  painting  is  delicately  carried  out. 
Beautifully  drawn  hands,  artistically  painted  draperies,  and  an  agreeable,  simple 
background  of  green  combine  to  give  an  engaging  result,  and  there  is  delightful 
finish  everywhere,  with  the  snap  and  sparkle  of  the  brilliant  school  of  which 
Madrazo  is  so  distinguished  a  member. 

Height,  iS^f  inches  ;  width,  14^  inches. 

Signed  at  the  right. 


VAN  LERIUS 

(Joseph  Henri  Francois) 

1823-1876 

No.  38 

An  Old  Woman's  Head 

A  strong,  vigorous  portrait  of  an  old  peasant  in  cap  and  neckerchief  is  given 
with  great  faithfulness  in  a  frank,  personal  way.  The  pathos  of  the  hard  life,  the 
years  of  toil,  and  the  patient  suffering  of  poverty  are  all  unmistakably  expressed. 

Height,  20)4  inches  ;  width,  15  inches. 

Signed  at  the  right.  Dated  1843. 


GEROME 


o/U/  &  o  . 


(Jean  L&on) 


No.  39 


Door  of  a  Mosque,  with  Heads  of  Decapitated  Rebels 

This  picture  represents  the  tragedy  of  a  rebellion.  Before  a  mosque  at  Cairo 
one  looks  through  a  partly  opened  oak  door,  which  is  elaborately  ornamented, 
into  the  court.  On  the  stone  steps  that  lead  up  sits  a  sentinel  clad  in  red,  with 
his  gun  across  his  knees,  a  belt  full  of  weapons,  and  in  his  hand  a  long  pipe.  He 
is  in  conversation  with  a  janizary,  who  stands  on  guard  with  sword  in  hand  and 
enormous  pistols  at  his  waist,  costumed  in  a  striped  robe  of  yellow  and  orange, 
his  arms,  head,  and  shoulders  protected  by  a  mail  of  chain.  Between  them,  piled 
up  on  the  steps,  are  the  heads  of  the  Beys  massacred  by  Salek-Kachef,  all  of 
them  wonderfully  realistic— pale  and  dripping  as  they  have  come  from  the  necks 
of  the  offenders.  Above  the  door  hang  three  more  ghastly  trophies,  a  gruesome 
warning  against  rebellion.  The  delicate  beauty  of  the  architecture  as  seen  through 
the  open  door,  with  sunlight  and  blue  sky,  serves  to  accentuate  the  somberness  of 
the  tragedy,  while  the  careful  detail  and  the  wonderful  elaboration  of  the  artist’s 
well-known  methods  have  made  the  picture  a  faithful  pictorial  transcript  of  the 
barbaric  customs  of  an  astonishing  race. 

Hamerton,  in  speaking  of  the  above  work,  says  :  “  Gerome  governs  himself 
so  strongly  as  a  painter  that  if  he  is  immoral,  it  is  not  from  irresistible  impulses,  but 
consciously  and  coldly.  So  with  his  love  of  the  horrible — there  is  no  violence,  no 
expression  of  repulsion  ;  the  severed  heads  lie  at  the  door  at  Cairo,  and  the  sentinel 
smokes  his  pipe.  A  common  painter  would  have  given  us  bystanders  with  horror 
on  their  faces.  But  in  this  very  coldness  there  is  something  peculiarly  fascinating  and 
terrible.” 


Height,  2i  inches;  width,  17^  inches. 


Signed  at  the  upper  left. 


FORTUNY 


(Mariano) 

1838-1874 


No.  40 


Arab’s  Head 


A  vigorous  study,  life-size,  of  an  Arab  with  bared  shoulders  and  a  head-dress 
of  white  against  a  background  of  blue.  The  painting  is  a  masterly  sketch  illustrating 
boldness  and  great  rapidity  of  execution. 

Height,  22  inches;  width,  i8j4  inches. 

Seal  at  the  right. 


0  6  0 


ar 


0  f  /t/ftiJls 


ZAMACOIS 

(Eduardo) 

1840-1871 


No.  41 

The  Infanta 

A  portrait  of  the  Infanta,  a  young  Spanish  princess,  dressed  in  an  elaborate 
gown  with  long  train  of  embroidered  white  and  blue  satin.  The  child  holds  the 
leash  of  an  enormous  hound,  while  in  the  background  is  her  waiting-man,  half 
in  shadow,  soberly  clad  in  gray  green,  wearing  a  wide,  white  linen  collar,  and 
holding  in  his  arm  a  broad-brimmed  hat  with  a  scarlet  feather.  A  look  of  childish 
fear  and  anticipation  on  the  Infanta  is  delightfully  expressed,  while  the  dog  and 
man  serve  to  complete  a  masterly  composition.  The  floor  is  of  marble  tiles  and  the 
background  of  tapestry. 

Height,  23^  inches  ;  width,  15^4  inches. 

Signed  at  the  upper  left.  Dated  1867. 


HORSCHELT 

(Theodor) 

1829-1870 


No.  42 

An  Arabian  Horseman 

Water  Color 

A  rider  is  seated  on  his  horse  ;  with  a  shield  slung  over  his  back  and  gun 
in  hand,  he  watches  intently.  Both  rider  and  horse  are  painted  with  consummate 
skill  and  finished  in  great  detail,  being  modeled  carefully  and  with  thorough  knowl¬ 
edge.  The  foreground  is  a  marsh,  with  long  weeds  and  a  pool  of  water,  while  in 
the  distance  a  blue  hill  looms  up.  The  dress  is  picturesque,  and  the  trappings  are 
brilliant  in  color. 

Height,  1 6  inches  ;  length,  i8}4  inches. 

Signed  at  the  right.  Dated  1867. 


RICO 

(Martin) 


///-* 


'.jutrcsit 


No.  43 

A  Spanish  Garden 

Water  Color 


A  Spanish  garden,  behind  which  rise  the  roofs  of  a  village  ;  the  houses, 
with  walls  of  white  and  pink  tones,  catch  the  sunlight  and  make  brilliant  notes 
of  color.  The  garden  is  full  of  pots  of  flowers  and  various  trees,  and  the  treatment 
of  the  greens  is  solved  with  seeming  ease.  In  one  corner  sits  a  man;  near  him 
is  a  child,  while  in  the  foreground  are  many  ducks  coming  toward  the  spectator. 
Rico’s  command  of  his  medium  was  never  more  apparent  than  in  this  work. 

Height,  12  inches  ;  length,  19  inches. 

Signed  at  the  left. 


FORTUNY 


(Mariano) 


1838-1874 


No,  44 


Cafe  of  the  Swallows 


Water  Color 


Interior  of  a  Moorish  cafe.  Upon  a  rug  sits  a  group  of  Arabs,  who  are 
being  served  with  coffee.  Two  columns  to  the  right  support  an  arch,  and  on 
a  rod  crossing  therefrom  some  swallows  are  perched.  The  architectural  detail  in 
this  picture  is  treated  no  less  masterly  than  the  figures  in  his  other  works,  and 
with  deft  touches  here  and  there,  an  idea  of  great  detail  is  suggested.  The  result 
is  brilliant  and  highly  interesting,  the  shadows  being  cool  and  just,  and  giving  a 
fine  sense  of  perspective. 


Height,  193^  inches  ;  width,  15J4  inches. 


Signed  at  the  left.  Dated  1868. 


HERNANDEZ 


(Don  German) 


No.  45 


Head  of  a  Girl 


A  charming  rendition  of  young  womanhood,  the  head  and  shoulders  against 
a  pink  background.  The  dark,  rippling  hair  is  dressed  with  a  circlet  of  flowers, 
and  the  eyes  look  roguishly  out,  while  an  exquisitely  modeled  hand  holds  a  cloak 
of  white  fur  from  slipping  away  from  the  bare  shoulders.  Very  freely  and  engagingly 
painted,  and  possessing  evident  spontaneity. 


Signed  at  the  left. 


Height,  22  inches  ;  width,  18  inches. 


TROYON 


(Constant) 

1810-1865 


No.  46 

Chickens  Feeding 


A  Brittany  woman  in  a  white  apron  and  cap  stands  feeding  a  flock  of 
chickens.  The  row  of  trees  in  the  background  and  some  buildings  are  broadly 
indicated,  while  the  artist  has  painted  with  great  simplicity  the  sky  and  land¬ 
scape,  giving  much  attention  to  the  fowls,  which  have  been  drawn  with  no  little 
study.  The  picture  is  characteristically  simple  and  convincingly  true,  being  unques¬ 
tionably  executed  before  nature  with  great  seriousness. 


Signed  at  the  left. 

* 


Height,  i8tf  inches  ;  length,  22  inches. 


cA'  46  -  ^  JT  ? 

$ 


t 


VAN  MARCKE 

(fimile) 

1827-1891 


/<f  *  - 

vV  0  “/  ■  ^ 


No.  47 


A  Normandy  Cow 


This  is  a  masterly  example.  The  animal  is  seen  in  profile  standing  in  a  sun-lit 
field.  The  cow  is  brown  ;  has  a  white  head,  and  spots  on  the  legs.  The  construc¬ 
tion  and  anatomy  are  admirable,  the  drawing  exact,  and  the  textures  realistic.  A 
small  line  of  hills  showing  in  the  distance  makes  an  interesting  background. 

Height,  22^f  inches  ;  length,  33  inches. 

A  J%  .4  /vT 


Signed  at  the  right. 


MICHETTI 

(Francesco  Paolo) 


No.  48 

A  Seaside  Idyl 

A  charming,  delicate  conception.  The  scene  represents  a  bit  of  seashore, 
the  distant  water  bright  with  many  brilliantly  colored  sails.  In  the  center  stand 
two  figures  amid  some  goats  that  are  in  advance  of  a  herd  farther  back.  The 
larger  of  the  two  figures  is  a  young  girl,  partially  nude,  who  bears  across  her 
shoulders  a  stick  twined  with  leaves.  Beyond  her,  separated  by  a  white  goat,  is 
the  figure  of  a  nude  boy  who  plays  upon  pipes.  On  his  head  is  a  dark  hat,  and 
about  his  neck  is  a  chain.  On  a  shore  in  the  distance,  vaguely  indicated,  is  a 
group  of  figures.  There  is  a  feeling  of  cool  sunshine,  of  balminess,  and  of  the 
delight  of  the  season,  the  lightness  and  gaiety  of  color  keeping  the  canvas  in  a 
high  key. 

Height,  25^  inches;  length,  39^  inches. 

Signed  at  the  right.  Dated  1876. 


J  St'O  ■ 

Tl(  JJ  O  <j 


/fija  J#} 

}  a*jl' 


BAUDRY 

(Paul  Jacques  Aimd) 

1828-1886 


No.  49 

Parisina 


A  portrait  of  a  charming  young  woman  in  evening  dress,  the  corsage  open  at 
the  neck,  with  a  flower  placed  therein.  Over  her  shoulders  is  a  gray  wrap,  and  on 
her  head  is  a  black  hat  with  feathers.  The  face  is  very  spirituelle,  and  the  expres¬ 
sion  one  of  much  sweetness.  The  background  is  dark  to  the  right  and  light  to  the 
left,  while  daintily  arranged,  in  a  decorative  Arabesque  line  of  gold,  is  the  word 
“  Parisina.” 

Height,  29  inches  ;  width,  23^  inches. 

Signed  at  the  left. 


COOSEMANS 


(Joseph  Theodore) 


No.  50 

Summer  Landscape 

A  quiet  bit  of  marshland  is  shown.  The  late  afternoon  sun  catches  the  trees  on 
the  side  of  a  stream,  giving  them  a  warm,  golden  tone.  They  are  reflected  in  the 
quiet  water,  which  is  mirror-like  in  its  depth  and  placidity.  A  little  red-and-white 
house  caught  by  the  light  makes  a  strong  spot  of  color  in  the  distance.  A  hot,  sim¬ 
mering  sky  carries  out  the  sentiment  of  the  season  and  place. 

Height,  i8}4  inches  ;  length,  29^  inches. 

Signed  at  the  left.  Dated  1868. 


STEVENS 

(Alfred) 

No.  51 


crUsf?  jo) 


.1 


w 


Woman  and  Elephant 


Seated  before  a  table  which  is  covered  with  a  fine  Oriental  rug,  a  woman, 
dressed  in  gray,  examines  the  carved  statuette  of  an  elephant.  Hei  face  is  exquisitely 
drawn,  and  the  painting  of  the  dress  is  wonderfully  managed,  the  sense  of  the 
fjo-ure  beneath  being  thoroughly  impressed.  The  accessories  are  in  the  masteily 
manner  of  the  great  Belgian-Frenchman,  while  all  through  the  work  are  subdued 
tones  and  harmony. 

Height,  29  inches  ;  width,  23^  inches. 

Signed  at  the  left. 


FORTUNY 


(Mariano) 


v 


f  Qi 


1838-1874 


No.  52 


One  of  the  “  King's  Moors  ” 


Nothing  could  more  fittingly  demonstrate  Fortuny’s  splendid  mastery  of  his 
brush  than  this  large,  life-sized  head  of  the  negro  Farragi  (one  of  those  called 
“  King's  Moors/’  who  was  the  artist’s  model  on  his  first  journey  in  Tangiers),  with 
brilliant  contrast  of  the  white-and-red  burnous  against  his  black  skin.  Both  face 
and  textures  are  painted  in  broad,  vigorous  strokes  with  thorough  understanding  of 
form  and  construction,  and  splendid  appreciation  of  color.  The  white  fabric  with 
which  the  head  and  shoulders  are  enveloped  is  swept  in  in  lines  of  great  simplicity, 
every  stroke  being  full  of  meaning,  and  the  flesh  painting  is  in  the  artist’s  best 
manner,  large  in  conception  and  admirable  in  every  way.  To  those  who  have  only 
deemed  the  master  capable  of  minute  work  this  canvas  will  be  a  revelation,  for  he 
proves  himself  no  less  great  in  his  life-size  studies  than  in  the  dainty  conceptions 
with  which  his  name  is  associated. 

I  was  speaking  one  day  to  Mr.  Stewart  of  a  fine  study  of  a  negro’s  head 
which  Fortuny  had  in  his  studio  in  Rome,  and,  upon  his  expressing  a  desire  to 
own  it,  1  wrote  to  Fortuny,  who  sent  it  immediately,  begging  Mr.  Stewart  to  accept 
it  as  a  token  of  his  esteem.  This  head  is  the  only  one  of  the  kind  the  famous  artist 
made  in  the  same  dimensions. — Senor  Raymundo  de  Madra^o. 


Height,  29 inches  ;  width,  24  inches. 


Signed  at  the  center.  Dated  1861. 


FIRMAN-GIRARD 


No.  53 


Parisian  Flower-Girl 


This  canvas,  the  first  of  a  series  of  pictures  of  the  familiar  street  life  of  the 
Paris  flower-girl,  and  the  one  that  established  the  artist’s  reputation,  represents  a 
young  woman  wheeling  along  the  street  a  cart  full  of  brilliantly  colored  roses  and 
other  growing  plants.  The  girl,  both  pretty  and  youthful,  is  dressed  in  a  striped 
gown  with  blue  apron  and  cap.  The  massing  of  the  flowers  is  delightfully  arranged, 
and  there  are  careful  detail  and  finish  everywhere. 


Height,  inches  ;  length,  39 y2  inches. 


Signed  at  the  left.  Dated  1872. 


PINWELL 


(George  John) 
1842-1875 


No.  54 


Rural  Life,  England 


Water  Color 


The  scene  represents  a  lawn  in  front  of  an  English  country  house.  Two 
young  women  are  reclining  on  the  grass  looking  at  some  turkeys.  At  the  side  of 
them  stands  a  lady  in  brown  velvet,  while  a  child  in  white  leans  on  her  arm.  Back  of 
them  is  the  house  ;  still  farther  in  the  background  are  some  trees  and  a  distant  view; 
some  farm  hands  are  to  the  right  and  left,  and  more  turkeys  are  in  the  middle  dis¬ 
tance.  The  work  is  carried  out  in  every  detail,  and  the  scene  is  characteristically 
English. 


Height,  35  l/z  inches;  width,  26  inches. 


Signed  at  the  left.  Dated  1871. 


ROTHSCHILD 


(Baroness  C.  de) 


No.  55 

View  of  Capri 

Water  Color 


Rising  out  of  the  water  is  a  group  of  buildings.  A  staircase  rises  from  the 
stream,  and  on  some  of  the  upper  balconies  from  the  walls  hang  many  strings  of 
red  peppers.  The  sky  is  blue,  with  white  clouds.  The  architecture  is  of  the  quaint 
Italian  style  that  has  made  the  place  picturesque  and  attracted  the  painters. 

Height,  2 1  inches  ;  width,  1 5  inches. 

Signed  at  the  left. 


/  St  0 

fa  •  /ttri  w-  *Ur  Y*1*' 


FORTUNY 

(Mariano) 

1838-1874 


No.  56 

The  Old  Peasant 

Water  Color 

A  simple,  sincere  study  of  an  old  Italian  peasant  seated  on  the  broken 
capital  of  the  column  of  a  temple.  The  expression  of  age  and  the  heavy  stolidity  of 
the  class  are  faithfully  caught,  while  the  treatment  is  in  pure  wash,  painted  directly 
and  with  the  man’s  usual  amazing  command  of  his  medium.  The  treatment  of  the 
head  is  broad,  though  conveying  an  idea  of  great  finish,  and  the  dress  is  treated  in 
simple  masses  with  the  certainty  of  a  master. 

Height,  22  inches;  width,  16  inches. 

Signed  at  the  upper  right.  Dated  1867. 


RICO 


(Martin) 


/) 

3M>  ■ 


No.  57 

Pond  at  Meaux 


Water  Color 


The  tower  and  walls  of  a  church  form  the  background  of  the  composition; 

here  and  there  are  tree  forms  that  come  up  against  the  sky.  In  the  foreground 

some  boys  sit  beside  a  pond,  which  reflects  the  bank  and  the  green  growing  on  its 

edge.  An  extremely  interesting  variety  of  greens,  and  the  arrangement  is  picturesque. 

There  are  also  effective  notes  of  color  in  the  old  walls  of  the  distant  buildings. 

%  / 

Height,  12  inches;  length,  19  inches. 

Signed  at  the  left. 


BOLDINI 

(Giovanni) 


No.  58 


Clichy  Square,  Paris 


A  view  of  the  famous  square  in  Paris,  seen  under  a  characteristic  cloud-filled 
sky.  To  the  left  the  statue  of  “  Marshal  Moncey  and  the  Dying  Soldier  ”  stands  out, 
while  the  streets  are  full  of  action  and  the  bustle  of  the  French  capital.  The  stages, 
drays,  flower-women,  and  denizens  of  the  quarter  are  all  true  to  life.  On  the  walls 
are  the  familiar  signs  of  the  different  tradespeople.  It  is  truly  a  glimpse  of  the  center 
of  the  Quartier  Clichy. 

Height,  23^  inches;  length,  38  inches. 

Signed  at  the  left.  Dated  1874. 


COOSEMANS 

(Joseph  Theodore) 


No.  59 

Winter  Landscape 

This  is  an  interesting  composition,  giving  the  view  of  a  road  vanishing  off 
in  perspective  under  the  effect  of  a  heavy  foil  of  snow.  To  the  right  is  a  grove  of 
trees  on  a  high  bank;  to  the  left  a  hedge  and  a  house,  some  other  habitations  stretch¬ 
ing  off  in  the  distance.  There  is  a  fine  feeling  of  the  season,  with  crisp  atmosphere, 
delightful  drawing  of  bare  trees  and  landscape  forms.  While  the  color  is  soft  and 
harmonious,  the  canvas  is  full  of  rare  bits  of  attractive  painting  that  make  it  exception¬ 
ally  interesting. 

Height,  22  inches  ;  length,  34  inches. 

Signed  at  the  left.  Dated  1868. 


MICHETTI 

(Francesco  Paola) 

j?.  fa  &>**&*■ 

No.  60 

The  Turkey  Girl 

On  a  hillside,  in  the  springtime,  a  young  Italian  girl  leans  against  a  deco¬ 
rative,  blossoming  tree,  and  with  a  face  full  of  vague  yearning  looks  out  of  the 
picture.  Turkeys  are  about  her  ;  one  is  perched  on  a  tree,  and  a  large  one,  with 
outspread  wings,  is  in  the  foreground.  A  flowering  branch  is  near  her,  and  all 
through  the  canvas  there  is  a  consciousness  of  spring  that  gives  out  a  feeling  of 
soft,  balmy  odors  and  growing  vegetation.  The  painting  is  full  of  delicate  color 
of  a  highly  decorative  sort,  such  as  this  artist  delights  in,  together  with  a  cap¬ 
tivating  cleverness  of  brushwork.  It  is  Italian  from  the  figure  of  the  pretty  girl  to 
the  deep  blue  of  sky,  the  brilliancy  of  greens,  and  the  pink  of  the  blossoms. 


Signed  at  the  left.  Dated  1876. 


Height,  25  inches  ;  length,  35  inches. 


FORTUNY 

(Mariano) 

1838-1874 

No.  6i 

Court  of  Justice,  Alhambra 

In  a  courtyard  at  the  Alhambra,  looking  back  into  a  beautiful  interior,  some 
prisoners  are  stretched  out,  their  arms  manacled  and  their  feet  in  stocks.  A  dusky 
sentinel,  clad  in  a  white  robe  and  red  burnous,  armed  with  warlike  weapons,  squats, 

I 

in  brilliant,  shimmering  sunshine,  on  guard  over  his  prisoners.  In  the  center  back¬ 
ground  sits  a  figure  on  an  Oriental  rug,  and  farther  in  the  background  and  shadow 
of  the  alcoves  are  other  figures,  while  a  distant  window  opens  on  the  delicate  greens 
of  a  garden.  In  the  foreground,  surrounded  by  a  decorative  tile  border,  is  a  circular 
fountain,  filled  with  limpid  water.  To  the  right  are  some  birds,  and  two  gorgeous 
saddles  and  trappings  on  wooden  stands.  Cool  shadows  on  the  white  marble 
contrast  with  the  brilliant  streak  of  sunshine,  which  is  fairly  dazzling  in  its  inten¬ 
sity  as  it  strikes  the  right  of  the  picture.  The  drawing  and  painting  of  the  intricate 
traceries  and  carvings,  the  hanging  lamps,  and  the  gay  ornamentation  of  the  Moorish 
interior  are  all  wonderfully  expressed  and  ably  painted.  As  an  architectural  study 
it  is  delightful,  for  it  has  the  truths  of  perspective  and  construction  interpreted 
through  a  genuinely  artistic  temperament. 

Height,  30  inches  ;  width,  23^  inches. 

Signed  at  the  left.  Dated  1871* 


HEILBUTH 

(Ferdinand) 


No.  62 

Lady  in  Yellow 

Figure  of  a  young  woman  seated  on  a  divan.  She  is  dressed  in  yellow,  and 
has  a  dog  in  her  lap.  About  her  neck  is  a  ruff,  and  on  her  head  a  blue  velvet  hat  with 
a  white  feather.  The  figure  is  charmingly  posed,  the  light  falling  on  one  side  of  her 
head,  the  rest  of  which  is  in  shadow.  The  sweet  face  is  dignified  and  tender  in  its 
well-bred  expression,  and  the  painting  is  executed  with  rare  grace  and  delicacy. 

Height,  36^  inches;  width,  21^  inches. 

Signed  at  the  left. 


A 

>  u.  dvr- 


BONNAT 


(L6on  Joseph  Florentin) 


No.  63 

Neapolitan  Peasants  at  the  Farnese  Palace 

This  is  an  unusually  interesting  and  important  example  of  one  of  the  rare, 
moderate-sized  easel  pictures  by  the  distinguished  Frenchman,  and  which  was  one 
of  the  successes  of  the  Salon  of  1866.  A  crowd  of  picturesque  Italian  country 
people  are  arranged  along  the  stone  base  of  one  side  of  the  palace,  under  a  great 
iron-barred  window.  Lying  fast  asleep,  a  dark-skinned,  sturdy  young  man  in  a 
blue  cloak  is  stretched  at  full  length  ;  by  his  feet  are  a  copper  kettle  and  some 
clothes  in  a  bundle.  Three  women  in  white  waists  and  head-dresses  are  to  the 
right,  their  faces  full  of  expression  and  painted  in  delightful  detail.  To  the  left  an 
old  woman  sleeps  and  a  young  man  and  girl  lean  against  a  post.  On  the  stone 
pavement  at  their  feet  is  a  beautifully  painted  figure  of  a  handsome  little  boy,  fast 
asleep,  his  head  on  his  arm  and  one  hand  at  his  face.  Nothing  could  be  more 
dexterously  executed  than  the  painting  of  this  lad,  clad  in  a  jumble  of  garments, 
but  with  a  feeling  of  his  form  beneath.  The  sense  of  youth  is  conveyed  in  every 
brush-mark. 

Height,  23^  inches  ;  length,  39^  inches. 

Signed  at  the  left.  Dated  1865.  y  J  /  * 

n-  fd  -  i  /  J 


VOLLON 


(Antoine) 


No*  64 

Crystal  Bowl  and  Fruit 

A  still-life  painting  of  a  large  crystal  bowl  standing  on  a  table,  which  is 
draped  with  a  red  velvet  cloth.  There  are  some  green  and  black  grapes  with  two 
pears,  all  of  which  are  executed  with  the  artist’s  usual  ease  and  freedom  of  paint¬ 
ing,  being  swept  in,  in  certain  strokes,  with  great  richness  and  depth. 

Height,  25  yz  inches  ;  length,  36^  inches. 

Signed  at  the  right. 


ROYBET 


(Ferdinand  Victor  Leon) 


J  ur- 


No.  65 

The  Kitchen  in  the  Castle 

This  picture  depicts  a  scene  from  the  middle  ages  wherein  my  lord’s  men  of 
the  kitchen  are  preparing  the  repast  for  the  goodly  company  upstairs.  Five  serving- 
men  are  seen,  two  of  whom  are  preparing  a  deer  for  the  spit  ;  another  is  plucking 
a  fowl  and  talking  to  a  great  greyhound  ;  still  another  stands  over  the  fire,  while 
the  last  is  bringing  in  another  animal  on  his  shoulders.  The  work  is  realistically 
executed  and  full  of  character. 

Height,  28^  inches  •  length,  38  inches. 

Signed  at  the  left. 


DUPRAY 

(Henri  Louis) 


d 


,0  K 


f,pt* 

i  Ut  t  l 


No.  66 

Waterloo 


A  French  cavalry  charge  is  depicted,  the  composition  being  filled  with  horse¬ 
men  in  excited  action.  In  the  left  foreground  are  a  number  of  dead  English  and 
French  soldiers  mingled  with  horses.  Behind,  a  general  on  a  white  horse  is  charging 
forward,  and  beside  him  may  be  seen  a  detached  group  of  combatants  of  both  armies. 
The  picture  gives  a  fine  idea  of  the  horror  of  battle,  and  throughout  there  is  much 
spirited  movement,  with  fine  suggestions  of  great  masses  of  troops. 

Height,  31^  inches  ;  length,  47^  inches. 


Signed  at  the  right. 


/afas  4b JtVer 


cz 


'  S’’ 


/ 

6*  . 


■is'LCCsC  '1/P-&C-J 


DUEZ 


S~0  0 

(Ernest  Ange) 

No.  67 

The  Pont  Neuf,  Paris 

A  glimpse  of  old  Paris.  The  view  is  from  the  well-known  bridge.  Many 
important  structures  showing  architectural  detail  form  the  background.  Strongly 
silhouetted  against  an  evening  sky  is  seen  the  statue  of  Henry  IV.  In  the  fore¬ 
ground,  along  the  river  bank,  is  a  line  of  bath-houses.  A  bateau  mouche  on  the  river 
and  omnibuses  passing  over  the  bridge  give  action  and  interest  to  the  composition. 

Height,  25^  inches  ;  length,  32  inches. 

Signed  at  the  left.  Dated  1884. 


FORTUNY 


1  * 


(Mariano) 

1838-1874 


<7 

$  /r * 


No.  68 


Courtyard,  Alhambra 


A  vigorous  study  of  old  Spanish  buildings  and  a  courtyard.  The  walls  of  the 
buildings  are  strongly  illuminated  by  the  sun,  and  a  laurel  tree  in  blossom  rises  above 
the  red-tiled  roofing.  In  the  foreground  are  two  pigs  rooting  in  the  soft  earth, 
while  to  the  left  of  the  composition  are  a  number  of  chickens.  Two  women  and  a 
child  are  spreading  clothes  in  the  background.  A  sky  of  intense  blue  is  broken  by 
gray- white  clouds. 

Height,  43 ]/2  inches  ;  width,  34 y2  inches. 


Seal  at  the  left. 


BAUDRY 


J  CO  * 

ft 

/  A  ^ 

./)  /  -rn,  <s n 


* 


(Paul  Jacques  Aim£) 

1828-1886 


No.  69 


The  Wave  and  the  Pearl 


“La  Vague  et  le  Perle,”  by  Paul  Baudry,  exhibited  in  the  Salon  of  1863,  holds 
a  place  of  honor  upon  the  walls.  Though,  doubtless,  its  subject  is  familiar  to  many,  I 
may  briefly  describe  it  as  a  nude  figure  of  a  young  girl,  lying  with  her  back  toward 
us  at  the  edge  of  the  ocean,  and  beyond  her  a  silver-crested,  emerald  wave  rising  and 
shutting  out  the  horizon  completely.  The  girl  looks  as  though  but  a  moment  before 
cast  up  by  the  waves,  not  dead,  but  living,  smiling  over  her  shoulder  with  a  half- 
turned  bice,  as  though  the  sea  was  her  element,  and  the  incoming  waves  her  breath 
of  life.  It  is  of  no  consequence  from  what  Persian  story  Baudry  drew  this  quaint 
conceit,  if  from  any  ;  the  picture  is  its  own  raison  d’etre,  independent  of  explanation 
and  without  a  title.  It  is  one  of  the  artist’s  masterpieces,  and  in  the  feeling  of 
mirthful,  exuberant  animal  life  is  a  reminder  of  some  things  of  Correggio  at  Dresden. 
Its  execution  is  quite  brilliant.  The  line  of  the  body  is  rhythmical,  harmonious, 
pliable,  giving  to  the  form  the  effect  of  living,  palpitating  beauty. — John  C.  Van 
Dyke,  The  Art  Review. 

“  At  the  time  of  the  war  this  young  master  was  in  his  full  glory  ;  absorbed  by  the  work  of  decorating 
the  Grand  Opera,  he  produced  few  pictures,  and  in  spite  of  his  desire  to  obtain  one  of  his  works,  Mr.  Stewart 
could  not  find  one.  Chance  came  to  his  aid  and  helped  him  well.  Baudry  had  exhibited  at  the  Salon  of  1863 
the  ‘  La  Vague  et  le  Perle,’  a  picture  which  was  the  success  of  the  year  ;  the  Empress  Eugenie  bought  it  and  had 
it  placed  in  her  boudoir  in  the  Tuileries,  where  it  remained  until  the  events  of  1870.  Fearing  then  that  her 
personal  property  might  be  confiscated  by  the  new  government,  she  caused  this  picture  and  some  other  valuable 
objects  to  be  taken  to  the  house  of  a  friend  in  the  rue  Francois  Premier.  The  Republican  Government  did  seize 
the  private  property  of  the  imperial  family,  and  a  lawsuit  began,  which  the  Empress  won  later.  Meanwhile 
Baudry’s  picture  remained  hidden  in  an  attic,  and  it  seemed  that  the  dust  might  cover  forever  the  graceful  and 
supple  form  of  his  creation  and  that  shining  look  which,  as  a  critic  says,  ‘  pursues  the  spectator  for  a  long  time.’ 

“  MM.  Goupil  having  learned  these  facts,  informed  Mr.  Stewart  of  them,  and  said  he  might  obtain  this 
masterpiece.  After  long  negotiations  a  bargain  was  struck,  and  the  picture  handed  over  to  the  great  collector, 
but  on  the  express  condition  that  it  should  be  shown  to  no  one  until  the  trial,  which  was  then  going  on,  should 
be  ended.  The  delivery  was  executed  in  the  most  mysterious  manner.  The  transfer  took  place  at  dawn  of  a 
winter’s  day  during  a  snow  squall  ;  the  precious  canvas,  wrapped  up  in  coarse  blankets,  hidden  from  the  eyes  of 
even  those  who  carted  it,  was  placed,  when  it  reached  the  mansion,  in  the  Cours  la  Reine,  in  an  out-of-the-way 
room,  the  door  of  which  for  a  long  time  opened  only  for  friends  whose  discretion  had  been  tested.” 

Height,  33  inches  ;  length,  70  inches. 

Signed  at  the  upper  left.  Dated  1862. 


SANT 


(James) 


No.  70 

Gipsy  Fortune  Teller 

A  composition  representing  a  young  girl  incredulously  listening  to  an  old  gipsy 
who  is  reading  her  palm.  Behind  the  girl  is  her  comrade,  who,  with  her  hands 
on  her  companion’s  shoulders,  listens  with  a  look  of  mingled  fear  and  interest.  Both 
the  young  women  are  dressed  in  the  fashionable  toilets  of  the  day,  while  the  old  crone 
is  in  a  red  hood  and  cloak.  In  the  background  is  a  forest,  through  which  the  sky  is 
gleaming.  Though  large  and  vigorously  painted,  the  work  shows  careful  finish  and 
much  detail  of  modeling,  while  the  faces  of  the  three  figures  are  very  expressive. 


Height,  44  inches  ;  length,  56  inches. 


SECOND  NIGHT'S  SALE 


FRIDAY,  FEBRUARY  4th,  1898,  AT  CHICKERING  HALL 

BEGINNING  AT  8:15  O’CLOCK 


KNAUS 

(Ludwig) 


No.  71 

The  Landlord 

Drawing; 


A  truthful  lead-pencil  drawing  of  a  typical  German  landlord,  who  is  standing 
before  the  door  of  a  country  inn,  smoking  his  pipe.  This  is  a  clever  character  study 
from  the  famous  German  painter,  whose  brush  has  depicted  so  many  realistic  scenes 
of  life  in  the  Fatherland. 

Height,  18  inches;  width,  12  inches. 

Signed  at  the  left. 


Cl  out 


VIERGE 

(Daniel  Vierge  Urrabieta) 
No.  72 


The  Bridle  Path,  Bois  de  Boulogne 

Drawing: 


A  characteristic  pen-and-ink  sketch  by  the  “Father  of  Modern  Illustration.” 
The  scene  represents  the  fashionable  thoroughfare  during  the  time  of  the  Empire.  A 
party  of  horsemen  dash  by,  and  several  of  the  gentlemen  are  bowing  to  equestriennes 
approaching  from  an  opposite  direction.  The  certainty  of  touch  that  has  made  the 
name  of  Vierge  famous  is  all  here,  and  the  clever  arrangement  of  composition,  the 
introduction  of  innumerable  figures,  give  a  personality  only  found  in  the  work  of 
this  able  Spaniard. 

Height,  17  inches;  width,  14^  inches. 

Signed  at  the  center. 


MORELLI 

(Domenico) 


A" 


No.  73 

Woman  Seated 

Drawing 

A  drawing  in  pen  and  ink  and  sepia  wash,  representing  an  attractive  young 
woman  lying  back  in  a  chair.  The  execution  is  facile,  and  the  line-work  has  been 
drawn  with  an  easy  grace  and  in  a  comprehensive  manner. 


It  was  during  a  trip  to  Naples  in  1863  that  Fortuny  became  acquainted  with 
Morelli,  a  Neapolitan  painter,  whose  work  he  had  noticed  at  the  exposition  in 
Florence  in  1861  ;  he  thought  highly  of  him  personally  and  of  his  talent,  and  was 
always  his  friend. — Baron  Davillier,  Life  of  Fortuny. 


Signed  at  the  right. 


Height,  1 1  ^  inches  ;  width,  8X  inches. 


FORTUNY 

(Mariano) 

1838-1874 


No.  74 


Arab  at  Prayer 

Monochrome 


An  Arab  stands  in  devout  attitude  at  the  base  of  a  pillar.  In  his  belt  are 
several  pistols.  The  study  is  quite  incomplete,  only  the  feet  and  head,  which  are 
bare,  being  advanced  to  completion,  but  the  drawing  is  most  interesting  as  showing 
the  artist’s  mode  of  procedure,  and  there  may  be  seen  therein  his  frankness  and 
certainty  of  touch,  together  with  his  artistic  conception  and  thorough  mastery  of 
his  brush. 

Height,  24  inches  ;  width,  1 7  inches. 

Seal  at  the  right. 


JZSo 

l  6 i  <% 


ojbri' 


Q-tU. 


MEISSONIER 

(Jean  Louis  Ernest) 


1813-1891 


No.  75 

Italian  Armor,  Sixteenth  Century 

Black  and  White 

Everything  that  the  famous  French  master  touched,  from  the  simplest  study 
to  his  most  elaborate  picture  containing  many  figures,  is  not  without  great  research 
and  thoughtful,  scholarly  treatment.  No  subject  was  too  insignificant  for  Meis- 
sonier  to  take  pains  with,  for  in  everything  he  labored  faithfully.  The  present 
black-and-white  sketch  is  a  study  of  a  suit  of  Italian  armor  of  the  sixteenth  century, 
which  is  among  the  treasures  of  the  Louvre.  The  drawing  is  faultless,  the  detail  is 
carefully  worked  out,  and  the  result  is  perfect. 


Signed  at  the  right. 


Height,  9  inches;  width,  5^  inches. 


MEISSONIER 

(Jean  Louis  Ernest) 

1813-1891 


*(/  C 


f  v 


4 


No.  76 

Armor 

Black  and  White 

A  study  in  great  detail  of  a  beautifully  chased  suit  of  French  armor  of  the 
seventeenth  century.  The  workmanship  is  all  brought  out  in  almost  photographic 
minutiae,  and  the  sketch  is  characteristic  of  the  painstaking  elaboration  of  the 
master  of  detail  and  finish. 

Signed  at  the  right. 


Height,  10  inches  ;  width,  7  inches. 


M 


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T. 


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LAMI 


(Louis  Eugene) 


No.  77 

Off  for  the  Hunt 

Water  Color 

A  group  of  men  and  women  on  horseback,  in  hunting  costume,  are  seen 
dashing  along  the  road,  eager  for  the  chase.  Brilliant  in  color  and  with  considerable 
movement  and  spirit. 

Height,  5^  inches;  length,  10  inches. 

Signed  at  the  left.  Dated  1864. 


v  0 


' 


l  ZJUlJ 


GAVARNI 


(Guillaume  Sulpice  Chevalier) 


1804-1866 


No.  78 

Small  Talk 

•  (De  la  tribu  des  Badinguet) 

Water  Color 

* 

A  caricature  of  the  secret  police  of  the  time  of  Emperor  Napoleon  III.,  nick¬ 
named  “Badinguet”  ever  since  he  was  a  pretender  and  prisoner  at  Fort  de  Ham. 
Two  figures  clad  in  nondescript  costume  are  freely'  drawn  and  painted  broadly  in 
harmonious  colors. 

Height,  \2%  inches;  width,  inches. 

Signed  at  the  left. 


HEILBUTH 


0  0  o 


(Ferdinand) 

1826-1889 


No.  79 

San  Giovanni  Laterano 

Water  Color 

A  cardinal  has  been  making  a  visit  of  state.  He  is  just  leaving,  and  several 
priests  have  accompanied  him  to  his  coach.  Servants  assist  the  prelate  to  enter. 
One  holds  the  door,  another  takes  up  the  trailing  gown,  and  others  group  them¬ 
selves  about  him  obsequiously.  Beyond  is  a  stretch  of  blue  hills  and  the  white 
walls  of  the  famous  church.  Interesting  both  historically  and  artistically. 

Height,  8X  inches  ;  length,  14X  inches.- 

Signed  at  the  right. 


FORTUNY 


(Mariano) 

1838-1874 


V 


ft  a 


No.  80 

Gipsy  Caves,  Granada 

A  study  of  an  old  thatched  hovel,  against  the  door  of  which  are  two  women. 
The  foreground  is  in  deep  shadow,  while  the  houses  are  in  full  sunlight.  There  is 
much  depth  of  color  and  powerful,  vigorous  painting,  executed  frankly,  and  with 
great  simplicity. 

Height,  7 ]/2  inches;  width,  inches. 

Signed  at  the  left. 


BENLLIURE 


No.  81 


(Jos£) 


House  at  Naples 


The  subject  is  a  typical  house  in  the  poorer  quarter.  Around  the  open  door¬ 
way  a  group  of  children  are  playing  ;  to  the  left  is  a  barrel,  and  to  the  right  a  chicken 
coop.  From  a  window  above  hangs  a  piece  of  bright  fabric,  and  flowering  plants 
are  on  the  window  ledge. 


Height,  inches  ;  width,  4^  inches. 


Signed  at  the  right. 


BOLDINI 


(Giovanni) 


No.  82 


The  Beach  at  Etretat 


With  his  astonishing  eye  for  the  picturesque,  this  artist,  by  the  natural  arrange¬ 
ment  of  a  few  figures  and  boats  on  the  pebbly  beach  of  this  French  watering-place 
and  fishing  village,  has  made  an  exquisite  little  picture.  The  old  fishing  craft 
of  many  colors  are  on  the  shore,  and  are  indicated  broadly  yet  with  microscopic 
finish;  the  sails,  spars,  ropes,  and  impedimenta  being  painted  in  minute  detail.  In 
front,  and  to  the  right,  a  fish-wife,  whose  dress  has  been  caught  by  the  wind,  is 
walking  along  the  beach,  carrying  a  child,  while  immediately  in  the  foreground  a 
little  boy  is  lying  at  full  length  on  the  pebbles.  The  sea,  which  is  of  deep  blue, 
is  swept  with  wind  clouds. 


Signed  at  the  right. 


Height,  5^  inches  ;  length,  pjf  inches. 


PETTENKOFEN 


(Auguste  von) 


a. 


No.  83 

A  Market  in  Hungary 

The  scene  represents  a  country  market.  Near  an  old  building  is  assembled  a 
number  of  peasants,  who  are  seated  about  on  the  ground  and  on  benches.  To  the 
left  are  some  horses  and  wagons.  All  is  very  broadly  painted  in  agreeable  colors  and 
with  great  care  as  to  details,  the  artist  being  known  as  the  “Austrian  Meissonier.” 

Height,  5X  inches  ;  length,  9  inches. 

Signed  at  the  right. 


RICO 

(Martin) 


Z  i  o~  t)  - 


No.  84 

The  Tarpeian  Rock,  Rome 

A  series  of  terraces  of  the  cliff  of  the  Capitoline  Hill,  crowned  by  a  building 
of  pink  stucco,  all  in  bright  sunlight,  under  a  blue  sky  flecked  with  white  clouds.  A 
cart  drawn  by  two  donkeys,  some  hucksters,  and  a  little  dog  are  seen  in  the  fore¬ 
ground,  while  at  the  lower  edge  of  the  composition  are  a  flight  of  steps  and  a 
stone  post.  Though  the  panel  is  small,  every  detail  is  carried  out  faithfully,  and 
the  treatment  is  a  marvel  of  dexterous  technique. 


Signed  at  the  left. 


Height,  inches  ;  length,  1 1  inches. 


FORTUNY 


A  / 


c^rtt 


c 


.  C  '  (Mariano) 

1838-1874 


No.  85 


Breakfast  in  the  Old  Convent  Yard 


This  modest  little  panel  is  an  extraordinary  example  of  detail  painting  and  dis¬ 
plays  the  remarkable  facility  of  the  great  Spaniard.  The  scene  represents  a  courtyard 
of  an  old  convent  ;  the  walls  of  the  building,  made  a  radiant  white  by  the  sunshine, 
form  an  interesting  background.  The  tiled  roof  of  the  ancient  edifice  throws  cool, 
bluish  shadows,  as  does  a  daintily  suggested  grapevine  to  the  left.  Behind,  and  seen 
above  the  wall,  is  a  dense  grove  of  orange  trees,  while  a  warm  summer  sky  is  broken 
with  white  clouds.  A  group  of  cavaliers,  who  have  halted  on  their  journey,  are  seated 
at  a  table  breakfasting,  and,  although  of  minute  proportion,  are  painted  with  exquisite 
detail  as  to  costume  and  all  accessories.  The  expression  of  satisfaction,  the  postures, 
and  the  general  arrangement  of  the  four  men  are  all  wonderfully  realized.  Some 
chickens  about  the  table  peck  at  the  crumbs,  while  by  a  distant  door  a  serving-man 
talks  to  a  peasant,  near  whom  are  two  sedan  chairs,  evidently  belonging  to  a  lady 
who  leans  pensively  on  the  balcony,  gazing  at  the  cavaliers  seated  at  the  table. 
A  number  of  large  water  jars  are  ranged  along  the  right  side  of  the  picture,  against 
the  shadow  of  a  building,  from  which  hangs  a  lamp. 


Height,  io}4  inches  ;  length,  \y/z  inches. 


Signed  at  the  left. 


ZAMACOiS 

(Eduardo) 

1840-1871 

No.  86 

The  Snowball 

In  a  pathway  of  a  woods  are  two  men  dressed  in  brilliant  colored  costumes 
of  the  middle  ages.  They  have  thrown  a  snowball,  which  a  dog  is  chasing  in 
full  cry.  There  is  an  effect  of  evening  light  on  the  snow  ;  the  animal  is  full  of 
expression  and  painted  with  the  wonderful  detail  so  characteristic  of  the  brilliant 
young  genius,  whose  untimely  death  at  twenty-nine  was  so  distinct  a  loss  to  the 
cause  of  art. 

Height,  inches  ;  width,  5^  inches. 

Signed  at  the  left.  Dated  1868. 


RICO 

(Martin)  (y  , 

No.  87 

The  Woodcutter 

Water  Color 

A  summer  landscape,  painted  in  the  village  of  Meaux,  France.  In  the  fore¬ 
ground  are  a  woodchopper,  a  wheelbarrow,  and  a  group  of  children ,  while  behind 
him,  to  the  middle  of  the  composition,  rise  two  poplar  trees.  To  the  right  and 
left,  groups  of  houses  are  discernible,  while  over  all  is  a  brilliant,  flecky  sky,  with  soft 
white  clouds.  The  greens  are  skilfully  managed  in  a  variety  of  tones,  running  from 
the  brilliant  color  of  the  trees  in  the  immediate  foreground  to  the  tender  tones  in 
the  distance,  the  whole  being  treated  in  pure  wash  and  very  simply. 


Height,  14 yz  inches;  width,  21  inches. 


WEBER 


( 


Died  1870 


No.  88 

Landscape  and  Cows 


Water  Color 


A  pastoral  scene,  with  cattle  and  distant  blue  hills.  At  the  right  center  are 
some  trees  and  a  stone  wall.  The  cows  are  well  drawn  and  modeled,  and  the  fore¬ 
ground  is  painted  with  much  fidelity  and  care.  A  gray-blue  sky  lends  interest  to 
the  composition,  which,  as  a  whole,  is  most  satisfactory. 


Height,  12^  inches  ;  length,  20  inches. 


Signed  at  the  left. 


No.  89 


Hungarian  Peasant  Wagon 


The  admirable  methods  of  this  able  painter  are  seen  to  great  advantage  in 
this  small,  though  broadly  executed  picture  of  two  donkeys  harnessed  to  a  peasant’s 
cart,  in  which  are  seated  two  children.  The  place  is  a  field,  with  stacks  of  grain 
and  heaps  of  pumpkins.  The  time  is  nearly  midday,  and  the  strong  light  from  a 
cloudless  blue  sky  gives  a  wealth  of  warm  color  to  the  scene. 


Height,  10^  inches  ;  length,  15^  inches. 


Signed  at  the  right.  Dated  1878. 


BOLDINI 

(Giovanni) 


Pond  in  the  Forest  of  Fontainebleau 


This  is  an  unusual  vista  of  the  famous  wood,  but  no  less  true  than  those  of 
more  familiar  aspect.  Instead  of  the  heavy,  sturdy  oaks  generally  painted,  there  are 
some  white  birches  and  delicate,  graceful  tree-forms,  with  light  bits  of  green  and 
trailing  branches.  Bare  rocks  show  here  and  there,  contrasting  with  the  darker 
greens  of  the  undergrowth,  and  in  the  foreground,  among  the  long  sedge  grasses, 
a  woman  is  filling  a  bucket  with  water.  The  distance  is  tender  and  the  sky  filled 
with  beautifully  modeled  cloud-forms.  It  is  unnecessary  to  add  that  no  detail  has 
been  spared  that  could  make  the  composition  complete,  and  throughout  there  is  an 
amazing  sense  of  the  brilliancy  of  light  and  air. 

Height,  ii  inches;  length,  \g}(  inches. 

Signed  at  the  left. 


FORTUNY 

(Mariano) 

1838-1874 


No.  91 


//  S-t> 


Rosa  Contadina 

Water  Color 


An  Italian  girl  leans  against  a  wall.  Her  head  drops  on  her  breast,  and  in  her 
hand  she  holds  some  roses.  The  head  is  finished  in  great  detail,  and  the  rest  of 
the  figure  is  painted  with  much  freedom.  The  wall  behind  her  is  very  delicate  in 
color,  being  almost  white.  This  is  a  characteristic  example  of  the  master. 

Height,  17^4  inches;  width,  ioj4  inches. 


Signed  at  the  upper  right.  Dated  1867. 


Jia 


o 


\  (l  T 


t  4 


b)  C°  ^r~  ^  J6t 

fc'f  /j  (i  /  ^-7H-  OUZ — 


RICO 

(Martin) 


No.  92 

Seville 

Water  Color 


M.  Rico  has  caught  the  sentiment  and  sparkle  of  the  light  and  brilliancy  of 

Spanish  sunlight,  and  treated  this  picture  with  much  freedom  and  dash.  The  scene 

represents  a  garden,  with  the  town  in  the  distance.  To  the  right  is  a  house,  with  a 
wall  of  faded  red  that  glows  warm  and  bright  in  the  sunlight,  and  in  front  of  it  is 
a  leafless  tree,  the  drawing  and  painting  of  which  are  most  clever,  showing  wonder¬ 
ful  command  of  the  medium.  In  the  middle  of  the  composition  two  donkeys  stand, 
and  from  the  gate  a  woman  is  seen  coming  out.  She  wears  a  bright  red  shawl, 

that  adds  the  necessary  note  of  color. 

Height,  12  inches  ;  length,  19  inches. 

Signed  at  the  left. 


STEVENS 

(Alfred) 


No.  93 

Remembrance  and  Regrets 


This  composition  of  a  single  figure  is  very  characteristic  of  the  artist’s  well- 
known  manner.  It  represents  a  beautiful  Parisienne  du  Haute  Monde,  exquisitely 
gowned  in  white.  She  sits  on  an  easy  chair,  resting  her  head  on  one  hand,  and 
holding  a  letter  in  the  other.  Beside  her,  on  a  dressing  table,  a  mirror  reflects 
her  head.  On  the  left  some  wraps  and  a  parasol  are  carelessly  placed.  The  face, 
full  of  thoughtful  tenderness,  is  troubled,  and  at  a  glance  one  may  read  the  story  as 
conveyed  in  the  title. 

Height,  24  inches  ;  width,  18  inches. 

Signed  at  the  left. 


FORTUNY 

(Mariano) 

1838-1874 


<2, 


/  tA'  U>L* 


No.  94 

Arab  Reclining  on  a  Divan 

Water  Color 


A  richly  dressed  Arab,  with  a  sword  in  his  girdle,  half  seated  and  half  lying 
on  a'  divan.  Beside  him  is  a  taboret  with  a  cafetiere  and  cup.  A  gun-rack  with 
richly  ornamented  weapons  occupies  the  wall.  The  figure  and  accessories  are 
painted  with  a  brisk  and  accurate  touch  and  with  great'  fidelity  to  detail,  while  the 
surroundings  are  washed  in  with  great  breadth  and  vigor  of  effect. 


Signed  at  the  right.  Dated  1869. 


Height,  27X  inches  ;  width,  i8}4  inches. 


RIBERA 

(Roman) 


No.  95 

Cafe  Ambulant 


This  is  a  fine  study  of  a  characteristic  street  scene  somewhere  in  the  Latin 
quarter  of  Paris.  All  the  actors  of  the  little  comedy  are  there  in  unconscious 
attitude,  preoccupied  each  with  his  own  affairs.  The  shabby  patrons  of  the  peram- 
bulatory  coffee-stand,  the  jaunty,  careless  art  students,  the  gaping  tinker’s  boy,  the 
gossiping  women,  and  the  busy  cobbler  in  his  bric-a-brac  stall,  are  all  treated  with 
great  fidelity  and  a  rare  quality  of  observation,  enriched  by  a  keen  sense  of  humor. 
While  the  artist  has  paid  the  strictest  attention  to  detail,  and  has  painted  every  object 
with  wonderful  accuracy,  he  has  preserved  a  delicacy  of  atmospheric  effect,  a  charm 
of  color,  and  a  distinction  of  tone  which  command  the  highest  admiration. 


Signed  at  the  right.  Dated  1878. 


Height,  19X  inches;  length,  34 %  inches. 


D 


MICHETTI 

(Francesco  Paolo) 


No.  96 

Spring 


In  a  bright  summer  landscape,  on  a  hillside  crowned  with  a  large  stone  building 
and  covered  with  a  growth  of  underbrush  and  trees,  lies  a  cabbage  garden.  A  pretty 
girl  tending  a  flock  of  turkeys  has  been  met  on  her  way  home  by  an  ardent  swain, 
who,  with  rustic  fervor,  tries  to  steal  a  kiss.  The  figures  are  executed  with  a  facile 
and  accurate  touch,  the  turkeys  are  painted  with  great  cleverness,  and  the  tender 
green  tones  of  the  cabbages,  so  difficult  to  portray  properly,  are  admirably  realized. 
All  the  vigor  and  fertile  invention  of  this  skillful  Italian  painter  are  accentuated  in 
this  picture. 

Height,  20)4  inches  ;  length,  33  inches. 

Signed  at  the  left.  Dated  1876. 


DECAMPS 


(Alexandre  Gabriel) 

1817-1878 


No.  97 

Death  and  the  Woodman 

The  subject  is  chosen  from  the  well-known  fable  of  La  Fontaine.  On  a 
rock  in  a  forest,  at  sunset,  sits  white-robed  Death,  and  beside  him  the  woodman, 
wretched  and  poverty-stricken,  in  an  attitude  of  supreme  dejection.  He  has  asked 
the  grim  specter  to  relieve  him  of  his  troubles,  and,  now  the  dread  terror  is  so  near 
at  hand,  he  is  overcome  with  fear  and  filled  with  a  desire  to  live. 


Signed  at  the  right. 


Height,  28  inches  ;  width,  23  inches. 


COROT 

(Jean  Baptiste  Camille) 

1796-1875 


No.  98 

Sunset 


A  pleasant  glade  in  early  summer  twilight.  To  the  right,  young  trees  stand 
out  a  little  from  the  forest.  At  the  foot  of  two  trees,  at  the  left,  are  two  women, 
one  of  whom  is  nude  and  is  seen  in  shadow;  both  figures  are  merely  notes  in  the 
landscape.  A  soft,  silvery  distance  stretches  away  in  the  middle  of  the  picture, 
and  a  sky  full  of  luminosity  is  made  brilliant  by  the  setting  sun.  There  is  a  fine 
sense  of  enveloping  atmosphere  in  this  little  masterpiece,  an  example  in  which  Corot 
is  seen  in  his  most  poetic  mood. 

Height,  23  inches;  width,  1 inches. 

Signed  at  the  left. 

A  6  4  <-  41- 


'MK*- 

1)9 


ROUSSEAU 

(Theodore) 

1812-1867 


AltV^JJod  /iAwr/fe 


No.  99 


The  Woodcutter,  Forest  of  Fontainebleau 


A  glade  in  the  forest  of  Fontainebleau,  in  the  clearing  of  which  a  wood¬ 
cutter  piles  up  some  wood.  In  the  middle  distance  is  a  pond,  beyond  which,  on 
high  ground,  is  a  group  of  buildings,  and  to  the  left  is  a  group  of  fine  old  trees  rich 
in  autumnal  colors  and  the  warm  glow  of  the  late  afternoon  sun.  The  tree-forms 
are  carried  out  with  conscientious  care  and  with  rare  analytic  power,  while  the 
drawing  of  the  branches  and  tree-trunks  is  no  less  accurate  and  masterly.  There  is 
a  fine  feeling  of  atmosphere  throughout  the  work,  great  distance,  and  a  feeling  of  the 
season  of  the  year. 

Height,  23 )/2  inches;  width,  21)6  inches. 

& 


Signed  at  the  left. 


T  ^ 


TROYON 

(Constant) 

1810-1865 


to 


/  V  A 

rsw'j 


No.  tOO 

The  Lane 


A  summer  landscape,  showing  the  turn  of  a  lane  in  the  woods  ;  the  sunlight 
gleaming  through  the  trees  and  lighting  the  ground  here  and  there.  A  man  and 
child  are  seen  coming  down  a  decline  at  the  left,  and  to  the  right,  just  beyond  the 
turn  of  the  lane,  is  a  woman  with  a  basket  on  her  arm.  There  is  a  sense  of 
depth  and  sobriety  to  the  greens,  with  beautiful  tree  drawing  and  construction,  and 
a  feeling  of  the  solemn  stillness  and  attractive  loneliness  of  the  woods  is  poetically 
and  engagingly  expressed. 

Signed  at  the  left. 


Height,  23  inches;  width,  19  inches. 

in/  4fe 


JO  tiro 

J  J  (l  uAilinJ  mi 


ZAMACOIS 

(Eduardo) 

1840-1871 


No.  m 

Checkmated 


Two  shrewd  little  hunchbacks  in  quaint  costumes  sit  on  a  table.  One,  his 
face  bright  with  mischief  and  wit,  has  been  playing  a  game  of  chess  with  a 
jester,  who  sits  facing  him  and  whom  he  has  just  checkmated.  The  court  jester 
is  clad  in  brilliant  scarlet,  with  cap  and  bells,  and  he  leans  in  contemplative  mood, 
resting  his  chin  on  his  hand.  The  background  is  a  fine  piece  of  tapestry,  and 
the  table  is  covered  with  a  sumptuous  Oriental  rug.  A  handsome  leather  chair 
is  to  the  right  ;  on  this  is  a  fool’s  baton,  while  a  glove  lies  on  the  floor.  The 
light,  which  falls  on  the  figures,  produces  a  striking  effect. 


Signed  at  the  right.  Dated  1867. 


Height,  1 9!^  inches;  length,  24  inches. 


FORTUNY 

(Mariano) 

1838-1874 


No.  102 


The  Masquerade 

Water  Color 


An  important  and  characteristic  composition,  showing  the  great  facility  of 
the  artist  and  his  originality  of  invention.  The  scene  is  laid  in  the  garden  of  the 
Tuileries.  On  a  stone  seat  a  Harlequin  stands  scraping  his  kit,  and  in  front  of 
him  is  a  group  of  two  masked  women  and  two  men,  one  of  whom  is  a  Moor, 
in  gorgeous  robes  and  turban,  and  the  other,  in  wig  and  knee  breeches,  leans 
jauntily  on  a  long  cane.  To  the  right  two  men  lean  over  a  marble  balustrade.  In 
the  distance  many  maskers  are  dancing.  There  are  great  brilliancy  of  sunlight  and 
a  sparkle  of  color  throughout,  and  the  important  center  group  is  worked  out  in 
much  detail. 

Height,  17^  inches  ;  length,  24^  inches. 

Signed  at  the  right.  Dated  1868. 


BAUDRY 

(Paul  Jacques  Aime) 

1828-1886 


(f  iT 0-0 


J  • 


No.  103 

Fortune  and  the  Child 

This  picture,  which  is  a  reduction  of  the  famous  painting  in  the  Luxembourg, 
Paris,  represents  two  figures,  a  woman  and  a  child,  seated  on  the  side  of  a  fountain. 
Both  are  nude,  though  under  and  behind  them  are  some  draperies.  A  landscape 
stretches  out  in  the  background,  and  a  group  of  trees  are  to  the  right.  The  wheel 
of  fortune,  with  chain  and  padlock,  lies  at  the  woman’s  feet.  The  flesh  tones  are 
exquisite,  and  the  face  of  the  woman  is  of  idyllic  beauty,  painted  with  consummate 
ability  and  tenderness. 

Height,  32^  inches  ;  width,  23^  inches. 

Signed  at  the  right.  Dated  1853. 


BOLDINI 

(Giovanni) 


No.  *04 

River  Seine,  at  Bougival 

A  beautiful  glimpse  of  the  river  at  the  quaint  little  town  near  Paris,  taken 
at  its  most  attractive  season.  The  stream  passes  through  charming  country  and 
beside  a  fine  old  formal  garden,  with  square-cut  box  hedge  and  handsome  stone 
gates.  The  foliage  indicates  early  summer,  with  dainty,  sparkling  greens  and  long 
tangle  of  rushes  in  the  foreground.  The  shadows  are  reflected  in  the  water,  and 
in  the  middle  of  the  river  is  a  punt  in  which  are  a  man  and  two  women.  The 
figures  are  delicately  suggested,  and  give  the  touch  of  needed  color.  The  sky  is 
blue,  with  a  few  white  clouds,  and  the  painting  is  fascinating  in  its  wonderfully 
dexterous  handling. 

Height,  inches;  width,  18  inches. 

Signed  at  the  left.  Dated  1874. 


& 


CLAYS 

(Paul  Jean) 

No.  105 

Dead  Calm 


A  motive,  in  which  this  admirable  painter  is  thoroughly  at  home,  represents 
a  perfectly  quiet  river,  with  the  low,  flat  Holland  land  in  the  distance,  and  here 
and  there  the  characteristic  red-tiled  roofs.  Three  big  sailing  vessels  lie  listlessly 
drifting-;  their  sails,  now  and  then  caught  by  sunlight,  are  flapping  idly  and  are 
reflected  in  the  water.  A  ship’s  boat  is  pulling  off  from  one  of  the  bigger  crafts. 
An  old  buoy  to  the  left  is  motionless,  and  against  the  shore  and  rocks  to  the 
right  the  water  barely  ripples. 

Height,  25^  inches;  length,  43^  inches. 

Signed  at  the  right.  Dated  1868. 


I 


FORTUNY 


Shoo 


(Mariano) 


6l  ££**  */L 


1838-1874 


No.  106 


A  Street  in  Tangiers 


Water  Color 


A  group  of  Arabs  lazily  reclining  under  the  shadow  of  a  wall  in  a  dingy  street. 
To  the  right  is  a  vista  of  another  street,  that  goes  off  at  right  angles  through  archways 
enlivened  now  and  then  by  full  sunlight.  A  horse  stands  to  the  extreme  left  of  the 
picture,  and  beside  him  two  Arabs  are  talking.  Above  is  a  window  with  tracery  of 
carved  woodwork.  A  figure  in  the  foreground,  for  which  Henri  Regnault  served 
as  model,  stands  with  bared  shoulders,  giving  tfte  artist  a  chance  to  show  his  able 
treatment  and  modeling  of  flesh.  The  bare  feet  and  legs  of  another  Oriental  lying 
down,  further  demonstrates  M.  Fortuny’s  dexterity  with  the  brush.  The  story  of 
Mr.  Stewart’s  acquisition  of  this  picture  is  interesting.  Fortuny  had  heard  a  great 
deal  about  the  great  French  painter  Meissonier,  but  had  never  seen  his  work  except 
through  photographic  reproductions.  Mr.  Stewart  knowing  this,  wished  to  cause  a 
pleasure  to  his  new  friend,  as  a  propitiatory  present.  He  took  to  Rome  the  little 
masterpiece  of  Meissonier  which  is  in  this  collection,  “The  End  of  a  Game  of  Cards,” 
and  Fortuny,  to  his  surprise,  found  one  morning  the  great  master’s  panel  placed  on 
his  own  easel  and  lighting  up  his  studio.  Deeply  touched,  the  artist  wrote  a  few 
words  of  dedication  under  the  water  color,  “A  Street  in  Tangiers,”  and  presented 
it  to  Mr.  Stewart. 


Height,  14X  inches  ;  length,  19^  inches. 


Signed  at  the  right.  Dated  1869. 


NITTIS 


A 


S 1  (TO 

(X  n  dUuv/t> 


(Giuseppe  de) 
1846-1884 


No.  t07 

Route  from  Brindisi  to  Barletta 

The  picture  is  one  of  a  long  road  leading  over  a  bridge,  along  which  some 
weary-looking  pedestrians,  with  a  team  and  yellow-bodied  wagon,  are  slowly 
moving.  The  fine  dust  seems  a  foot  deep  in  the  highway,  the  bushes  and  grass  are 
covered  with  it,  the  sunlight  is  blazing,  and  the  heat,  like  the  breath  of  a  blast¬ 
furnace,  is  rising  up  in  wavy  lines  from  the  earth.  The  idea  of  sultriness  is  over¬ 
powering.  We  almost  feel  it,  as  we  do  in  reading  the  opening  chapter  of  “  Little 
Dorrit,”  with  its  description  of  Marseilles  burning  in  the  sun.  To  convey  this  impres¬ 
sion,  this  feeling,  seems  to  have  been  the  one  object  of  the  artist,  and  he  has 
succeeded  in  doing  it.  It  is  faint  praise  to  say  that  the  picture  is  well  painted,  for  it 
is  more  than  that.  The  color-scheme  is  light,  not  fiery  ;  the  composition  and  per¬ 
spective  are  excellent,  and  the  textures,  from  the  powdered  dust  and  the  wilted 
herbage  to  the  iron  tires  of  the  wagon-wheels  and  the  clothes  of  the  travelers,  are 
painted  with  a  directness  and  a  certainty  not  always  visible  in  De  Nittis’s  pictures 
of  the  Champs  Elysees.— John  C.  Van  Dyke,  The  Art  Review. 

Height,  1 1  inches  ;  length,  2 1  ]/2  inches. 

Signed  at  the  right.  Dated  1872. 


RICO 

(Martin) 


o 


No.  f08 

Plaza  and  Street,  Toledo 

Prominently  in  the  middle  background,  to  the  right  of  the  composition,  is 
a  great  white  stuccoed  building,  with  an  elaborate  wooden  door  studded  with  iron 
ornaments  and  topped  with  a  carved  coping,  over  which  are  two  griffins.  Bird¬ 
cages  hang  on  the  wall,  and  a  window  protected  by  an  iron  grille  is  filled  with 
flower-pots  containing  trailing  vines.  A  child  in  a  yellow  dress  stands  in  the  shadow, 
and  two  donkeys  browse  lazily,  a  little  dog  lying  near  them.  The  foreground  is 
most  delicately  suggested,  while  to  the  extreme  right  a  street  recedes  in  the  distance. 
The  sky  is  a  heavy  blue,  and  the  atmosphere  is  hot  and  simmering. 

Height,  8^  inches  ;  length,  13^  inches 

Signed  at  the  right. 


sv-o 

RICO 

(Martin) 

No.  109 

Avenue  Josephine  Market,  Paris 

A  glimpse  of  one  of  the  Paris  out-of-door  markets.  Across  the  middle  of 
the  panel  is  a  line  of  green-colored  booths  or  sheds,  against  which  are  banked  carts, 
and  groups  of  market  people  and  buyers  are  trading.  In  the  background  is  a  vista 
of  Paris,  and  in  the  foreground  are  great  numbers  of  jugs  and  pots,  evidently  the 
wares  of  a  pottery  merchant.  Though  there  is  apparently  an  enormous  amount 
of  detail  in  the  picture,  it  is  more  by  reason  of  the  astonishing  cleverness  of  sug¬ 
gestion  than  in  anv  labored  work.  This  painting  was  first  shown  at  the  Universal 
Exposition  of  1878. 


Signed  at  the  right. 


Height,  6%  inches  ;  length,  1 1  inches. 


/? 

c# 


MEISSONIER 


(Jean  Louis  Ernest) 


1813-1891 


No.  no 


The  End  of  a  Game  of  Cards 


A  tragedy  admirably  told  on  the  few  inches  of  a  small  panel  by  one  of  the 
masters  of  this  century.  Two  cavaliers  have  had  some  quarrel  about  a  doubtful 
throw;  they  have  drawn  their  swords  and  pursued  each  "other  across  the  room, 
upsetting  and  breaking  the  furniture.  One  is  now  stretched  on  the  ground  near  the 
reddened  blade  which  defended  him;  the  other,  struck  to  death,  too,  is  dying  at  the 
back  of  the  room,  trying  to  stop  with  weakened  hand  the  flow  of  blood  from  his 
pierced  breast.  Meanwhile  the  table  on  which  they  cast  the  dice  or  cut  the  cards, 
upset  during  the  fight,  burns  smouldering  in  the  fireplace.  The  fatal  passion  has 
annihilated  all,  both  the  actors  in  the  drama  and  the  scene  of  the  struggle.  The 
conception  is  that  of  a  thinker;  the  picture,  painted  with  wonderful  understanding 
of  chiaroscuro,  is  executed  with  that  precision  without  affectation,  that  firmness 
without  dryness,  that  breadth  of  touch  which  make  the  little  compositions  of  the 
master  so  great. 


Height,  inches  ;  width,  7^  inches. 


Signed  at  the  right.  Dated  1865. 


FORTUNY 


(Mariano) 


1838-1874 


No.  Ill 

Meissonier's  Portrait 

A  clever  sketch  of  the  great  painter  of  “La  Rixe.”  He  stands  in  one  corner  of 
his  own  studio,  at  Poissy,  dressed  in  top-boots,  tight  white  breeches,  and  a  brown 
velvet  coat.  His  head  is  in  profile,  and  in  his  left  hand  he  holds  an  enormous  cavalry 
sabre.  The  legs  in  particular  are  carefully  painted,  the  rest  being  nevertheless  highly 
suggestive.  Meissonier,  it  seems,  had  called  on  Fortuny  one  day  while  the  latter  was 
painting  his  “Spanish  Marriage,”  and  had  criticised  one  of  the  soldiers  in  that 
canvas,  asserting  that,  for  a  good  cavalry  officer,  his  legs  were  not  in  proportion  to 
his  body,  and  to  support  his  assertion  and  persuade  the  young  man,  who  was  more 
astonished  than  convinced,  he  drew  his  attention  to  his  own  legs,  which  were  in 
perfect  proportion,  and  said,  “1  am  the  only  man  who  has  the  proper  legs  for  the 
character  you  need,  and  if  you  will  come  out  to  Poissy  I  will  serve  as  your  model.” 
Fortuny  accepted,  went  to  Poissy,  and  made  a  sketch  of  the  great  master,  who  was 
much  astonished  at  the  rapidity  of  execution.  Completed  later,  this  study  became 
the  “Portrait  of  Meissonier,”  the  artist  reproducing  the  famous  painter’s  studio  as  a 
background,  including  an  easel  on  which  is  the  sketch  for  a  composition  called 
“  Le  Guide.” 


Seal  at  the  right. 


Height,  1 1  inches  ;  width,  inches. 


MEISSONIER 

(Jean  Louis  Ernest) 
1813-1891 


i %  -  (Jb 


No.  H2 

The  Stirrup  Cup 

A  subject  of  which  the  artist  was  fond  and  which  he  has  treated  several  times. 
It  is  always  the  gentleman  on  horseback  quenching  his  thirst  before  he  gallops  off. 
Here  Meissonier  triumphs  .through  the  truth  of  the  attitudes,  the  simplicity,  and  the 
naturalness  of  the  motions,  the  happy  rendering  of  the  expression  of  the  faces  ;  here 
is  shown  with  rare  intensity  the  great  knowledge  of  the  master  with  regard  to 
everything  that  concerned  the  horse.  Meissonier  loved  the  horse  passionately  ;  he 
modeled  some  in  wax,  which  are  little  masterpieces  that  Barye  would  have  been  glad 
to  sign.  He  knew  not  only  the  structure  and  the  appearance  of  the  noble  animal,  but 
he  had  caught  its  nature,  guessed  its  caprices  and  revolts.  His  horses,  wherever  you 
find  them  in  his  works,  have  not  only  their  breed,  but  their  character,  well  marked. 
In  this  picture  the  horse,  a  portrait  of  an  animal  that  he  knew  and  loved,  is  a  marvel 
of  life  and  of  perfect  modeling. 

Height,  inches  ;  width,  4^  inches. 

Signed  at  the  left.  Dated  1864. 


/  J~6  RICO 

(Martin) 

No.  U3 

Rienzi’s  House  in  Rome 

A  view  of  the  ancient  building,  the  supporting  pillars  of  which  are  half  walled 
up.  To  the  left,  in  sunlight  and  shadow,  a  street  is  seen,  and  a  number  of  beggars 
are  grouped  about  on  a  grassy  foreground  to  the  left.  There  is  a  deep  blue  sky, 
with  brilliant  white  clouds. 


Signed  at  the  left. 


Height,  6  inches  ;  length,  1 1  inches. 


FORTUNY 


(Mariano) 

1838-1874 


(7^ 


No.  IJ4 

The  Choice  of  a  Model 

In  an  elaborately  decorated  and  sumptuously  furnished  apartment  of  the 
Palazzo  Colonna,  in  Rome,  a  number  of  members  of  the  Academy  of  Saint  Luke,  at 
the  most  luxurious  period  of  last  century,  are  assembled  to  criticize  a  nude  female 
model  who  is  posing  before  them  in  an  attitude  of  studied  grace.  The  ultra-fashion¬ 
able  costumes  of  the  men  and  their  pompous  and  artificial  manners,  no  less  than  the 
wonderful  richness  and  elegance  of  their  surroundings,  indicate  to  what  an  extent  the 
study  of  art  was  at  this  period  indulged  in  as  a  fashionable  accomplishment.  The 
subject  has  given  Fortuny  the  best  possible  opportunity  for  the  exercise  of  his  unique 
skill  in  the  treatment  of  rich  draperies,  fine  metal  work,  choice  marbles,  and  all  the 
glitter  and  splendor  of  precious  objects  of  art  with  which  the  princely  apartment  is 
filled  to  overflowing.  Nor  has  the  artist  been  too  much  preoccupied  with  the  imita¬ 
tion  of  textiles  and  with  the  difficult  problems  of  intricate  design  and  arrangement, 
for  he  has  treated  with  characteristic  skill  the  delicate  contrasts  of  tone  and  color  as 
well  as  the  differences  of  human  type  and  expression,  which  alone  would  distinguish 
the  picture  as  a  rare  artistic  accomplishment.  With  all  the  extraordinary  elaboration 
of  detail  and  amazing  wealth  of  color  the  general  harmony  of  the  picture  is  maintained 
without  a  false  note,  and  it  will  always  rank  as  the  highest  expression  of  Fortuny’s 
great  inventive  power,  his  rare  taste,  and  his  consummate  facility  of  execution. 

Height,  21  inches  ;  length,  32  inches. 

Signed  at  the  right.  Dated  1874. 


BOLDINI 


r\ 


(Giovanni) 


No.  \\5 


Highway  of  Combes-la-Ville 


Along  a  white,  flat  road,  with  the  distant  view  of  a  small  village  of  white  walls 
and  red  roofs,  a  few  wagons  are  seen  going  and  coming,  while  on  a  side  path  people 
are  slowly  walking  along  under  a  row  of  long,  slender  trees.  To  the  right  is  a  gray 
stucco  wall,  showing  the  red  brick  at  the  entrance  gates,  where  several  women  stand 
talking.  To  the  left  is  a  stretch  of  slightly  undulating  country,  and  above  is  a  sky 
filled  with  brilliant  cloud-forms.  Nowhere  has  the  artist  evolved  more  dexterity  or 
more  feeling  for  the  realization  of  the  sparkle  of  a  burning  summer  day  in  France. 
The  strong  light  of  the  sun  and  the  great  intensity  of  the  heat  are  masterly  ren¬ 
dered,  and  the  tenderness  and  brilliancy  of  the  greens  are  truthfully  conveyed.  It 
required  all  the  skill  of  the  painter’s  hand,  all  the  science  that  his  eye  possessed,  to 
dare  to  undertake  such  a  work.  It  has  taken  all  his  talent  to  make  it  successful. 
The  subject  was  one  of  those  which  in  art  they  call  dangerous  ;  almost  in  play  he 
has  overcome  immense  difficulties. 

Height,  27  inches  ;  length,  39^  inches. 

Signed  at  the  left.  Dated  1873. 


% 


FORTUNY 

(Mariano) 

1838-1874 

No.  U6 

Dead  Girl 

When  Fortuny  was  at  Granada,  a  daughter  of  one  of  the  attendants  in  the 
Alhambra  died.  The  father  came  to  the  artist  and  begged  him  to  make  a  painting  of 
his  daughter,  that  he  might  have  some  likeness  of  her.  So  Fortuny  painted  her  lying 
dead  in  her  coffin  —  painted  her  as  only  such  a  subject  could  be  painted,  broadly, 
boldly,  swiftly  —  and  in  every  brush-stroke  of  it  there  is  that  feeling  of  power  that  we 
experience  in  viewing  the  drawings  of  Michel  Angelo.  In  the  most  delicate  as  in 
the  broadest  sweep  of  the  brush  there  is  the  sense  of  strength.  The  spirit  of  death  — 
1  had  almost  said  death  itself — is  caught  and  transfixed  upon  canvas  by  a  master 
hand  that  would  rather  have  left  it  undone,  but,  having  it  to  do,  did  it  swiftly  and 
surely.  One  must  be  more  than  simply  “clever”  to  do  such  work.  One  must  look 
deep  into  the  essence  of  things — and  that  is  genius. — John  C.  Van  Dyke,  The  Art 
Review. 

Height,  22 yz  inches;  length,  27 y2  inches. 

Signed  at  the  left. 


TROYON 

(Constant) 

1810-1865 


No.  U  7 


CA  H  ( 


< 1 


Cow  Among  the  Cabbages 


In  a  cabbage  patch,  against  a  well-composed  sky,  stands  a  white  cow,  marked 
with  red  on  the  face  and  neck.  To  the  right  are  some  willow  trees,  and  vaguely 
seen  in  the  distance  is  a  stretch  of  flat  country,  with  hills  along  the  horizon.  It  is 
one  of  the  sober,  thoughtful  studies  of  cows  that  none  knew  how  to  execute  so  well 
as  this  master.  The  characteristics  of  the  beast,  the  drawing  and  anatomy,  the 
relations  of  light  and  shade,  and  the  proper  appreciation  of  form  and  movement 
make  this  work  a  masterpiece. 


Signed  at  the  left. 


Height,  36  inches  ;  width,  29  inches. 

A  n  -  ^ 


LEIBL 

(Wilhelm) 


/J  r*? 

y  Q cJ Ct/f'r'ti* 


5 


,*w 


it.  ^f71  *  ^ 


No.  U8 

Village  Politicians 


A  most  important  canvas  by  this  great  German  master.  A  group  of  four 
old  peasants  sit  attentively  listening  to  a  younger  man,  who  is  reading  from  a 
newspaper.  Each  particular  face  and  figure  is  a  study  by  itself,  Holbeinesque  in 
its  marvelous  search  for  character  and  extraordinary  finish.  So  masterly  is  the 
treatment,  that  none  of  the  types  of  character  illustrated  are  unduly  assertive,  and  all 
contribute  to  make  a  splendid  harmony.  The  artist  has  accentuated  the  difficulties 
of  his  task  by  introducing  no  less  than  four  pairs  of  hands,  yet  these  he  has 
drawn  and  painted  no  less  freely  and  skillfully  than  the  faces,  the  picture,' in  its 
wonderful  fidelity  and  ability,  being  reminiscent  of  the  Dutch  masters  of  the  seven¬ 
teenth  century.  It  is  the  master-work  of  Leibl,  and  as  such  created  a  sensation 
in  Paris  at  the  Universal  Exposition  of  1878. 

Height,  3 1  inches  ;  length,  39  inches. 


FORTUNY 


(Mariano) 

1838-1874 


No.  U  9 

The  Antiquary 


In  a  room  littered  with  biblios,  bric-ji-brac,  and  articles  of  virtu  an  enthusiastic 
amateur  sits  with  a  portfolio  on  his  lap,  admiring  a  rare  engraving.  In  front  of  him, 
on  a  carved  chair,  is  a  folio  of  prints.  Behind  the  antiquary,  a  friend  leans  over  his 
chair  and  glances  at  the  engraving  which  is  being  admired  by  the  amateur.  On  a 
rich  rug  that  nearly  covers  the  floor  is  an  elaborately  carved  treasure  chest,  on  which 
are  placed  specimens  of  Venetian  glass  and  other  objects;  a  handsome  large  red  vase 
stands  on  the  mantle,  and"  a  cockatoo  is  perched  on  a  bar  in  the  foreground,  while  at 
the  extreme  right  a  man  carrying  a  portfolio  stops  in  front  of  an  elaborately  carved 
table.  A  suit  of  Japanese  armor  stands  near  the  left  center,  and  the  walls  of  the  room 
are  hung  with  rich  tapestries.  In  a  gorgeous  Florentine  frame,  hanging  above  a 
carved  white  marble  fireplace,  is  a  painting  of  a  knight  in  armor,  a  likeness  of  Mr. 
Stewart,  which  was  introduced  under  the  following  circumstances.  Mr.  Stewart  had 
been  in  possession  of  this  work  for  some  time  when  Fortuny  made  a  trip  to  Paris, 
and  while  there  called  on  his  patron.  In  chatting  with  him,  Mrs.  Stewart  expressed 
her  regret  at  not  having  a  good  portrait  of  her  husband.  Fortuny  did  not  answer, 
but  a  little  later  he  went  up  to  “The  Antiquary,”  and,  with  a  certain  appearance  of 
embarrassment,  declared  that  the  background  needed  retouching.  An  artist’s  fancy, 
they  thought.  Mr.  Stewart  was  one  of  those  men  who  refused  nothing,  and  Fortuny 
was  one  of  those  to  whom  everything  was  granted,  and  on  his  departure  he  carried 
away  the  picture.  After  a  few  days,  when  it  was  returned  to  the  owner,  it  had  in 
fact  been  subjected  to  a  change.  The  artist  had  introduced  in  the  background  a 
capital  portrait  of  his  friend,  which,  in  its  old  frame,  thoroughly  harmonized  with  the 
original  composition  of  the  picture. 

Height,  19  inches ;  length,  26  inches. 

Signed  at  the  right. 


ST) 


a/  J  OQ* 


MADRAZO 

(Raymundo  de) 

No.  120 

Departure  from  the  Masked  Ball 

This  well-known  canvas  represents  the  courtyard  of  a  Parisian  mansion  at 
the  conclusion  of  a  masked  ball.  It  is  early  dawn,  and  the  gas-lamps  at  the  gates 
seem  feeble  in  the  greater  light  of  the  day  that  is  so  near.  Carriages,  in  which  are 
gay  maskers  in  costume,  are  being  driven  away,  and  other  guests  are  coming  down 
the  canopy-covered  steps  of  the  mansion.  A  group  of  footmen  and  coachmen  in 
livery  are  at  the  left,  discussing  the  contents  of  a  daily  paper.  In  the  middle  group 
a  man  dressed  as  Punchinello,  with  a  Japanese  lady  on  his  arm,  is  taking  a  Madame 
de  Pompadour  to  task.  Beyond,  a  Pierrot,  somewhat  the  worse  for  his  dissipation, 
has  dropped  on  the  grass,  and  his  companion  is  assisting  him  to  rise.  Outside, 
some  street-sweepers,  half  awake,  are  cleaning  up  the  road— a  dramatic  touch.  Leaf¬ 
less  trees,  beautifully  drawn,  are  in  front  of  the  handsome  iron  railings  which  inclose 
the  courtyard,  and  the  distant  houses  are  pale  and  gray  in  the  early  morning  light. 
No  detail  has  been  omitted,  everything  is  in  harmony,  and  the  composition  is  most 
interestingly  arranged.  This  picture  attracted  great  attention  when  it  was  shown 
at  the  Salon,  1878,  and  marks  the  highest  point  in  the  genre  work  of  this  dis¬ 
tinguished  painter’s  career. 

♦ 

Height,  27 y2  inches  ;  length,  46  inches. 


Signed  at  the  left. 


FORTUNY 


(Mariano) 


(72 


y 

/ 


No.  121 

Arab  Butcher 


r  * 


A  ray  of  glaring  sunlight  falling  on  a  white  wall,  a  slaughtered  ox  stretched 
upon  the  ground  in  a  pool  of  blood,  a  figure  or  two  with  just  enough  color  in  the 
costumes  to  make  contrast  — and  that  is  all.  Repulsive  as  the  subject  undoubtedly  is, 
one  can  but  wonder  at  the  genius  of  the  man  which  could  transform  such  a  scene  into 
a  thing  of  beauty.  And  it  is  actually  beautiful  from  an  artist’s  point  of  view.  The 
heated  air,  the  glaring  sunlight,  and,  above  all,  the  key  of  color  formed  by  the  bright 
red  blood,  are  startling  in  their  effectiveness  and  are  really  pleasing  to  the  eye.  Nor  is 
the  sketch  idealized  in  the  popular  meaning  of  that  badly  abused  word.  It  is  natural 
enough,  yet  it  is  not  simply  a  piece  of  brutal  strength,  like  Rembrandt’s  “  Dressed 
Beef”  in  the  Louvre. — -John  C.  Van  Dyke,  The  Art  Review. 

I  have  in  view  several  other  things,  one  especially  (“The  Butcher”)  that  I 
will  endeavor  to  sketch  before  my  departure,  but  it  will  not  be  for  sale,  for  nobody 
would  buy  it,  only  I  will  take  the  luxury  of  painting  it  for  myself ;  it  is  in  this  that 
true  painting  consists. — Extract  from  Fortuny's  letter  to  Baron  Davillier,  October  9, 

1874. 


Height,  29  inches  ;  length,  52  inches. 


Seal  at  the  left. 


VAN  MARCKE 

(Emile) 


No.  122 

Cows  in  the  Valley,  Toucques 


A  complete  and  fine  example  of  the  well-known  cattle-painter,  who  has 
here  composed  an  agreeable  arrangement  of  animals  and  a  summer  landscape.  A 
white  cow  in  profile  is  in  the  foreground,  half  in  sunlight  ;  behind  her  is  a  black  one, 
while  to  the  left  a  red  cow  is  lying  down  near  a  pool  of  water.  Other  cattle  are 
vaguely  seen  in  the  distance,  also  a  plain  and  a  hillside  in  tender  purples.  A 
white  building  is  nearly  obscured  by  some  trees,  and  there  is  a  sense  of  the  rich, 
heavy  summer  greens,  cool  shadows,  and  the  quiet  of  pasture  lands. 


Height,  24  inches  ;  .  length,  40  inches. 


Signed  at  the  left. 


/ tt  '  STEWART 

(Julius  L.) 

Je  it  iw.rc 

No.  123 

Summer 

The  scene  represents  a  field  of  grain  situated  in  a  hollow  surrounded  by 
verdure-clad  hills,  soft  and  harmonious  in  their  tender  purples  and  green,  under  a 
sparkling  sky  of  cerulean  blue,  with  fluffy  white  clouds.  To  the  right  is  a  tree 
almost  leafless,  and  near  it  are  two  fashionably  dressed  women,  one  in  white, 
the  other  in  gray.  To  the  left  center  are  a  man  and  woman,  with  red  parasol, 
while  near  by  is  a  young  lad.  The  red  tones  of  poppies,  scattered  here  and  there 
among  the  grain,  give  note  of  color,  while  the  greens  both  in  the  foreground  and 
middle  distance  are  pure,  brilliant,  and  admirably  arranged.  A  cloud  shadow  fall¬ 
ing  on  the  field  serves  to  make  pleasing  contrasts  of  light  and  shade,  and  the 
painting,  though  broad  and  vigorous,  is  not  without  much  detail.  Above  all,  the 
work  has  a  crisp,  fresh,  breezy  feeling,  suggesting  satisfactorily  the  time — early 
summer — and  the  place — France. 

Height,  33 1/2  inches  ;  length,  59  inches. 

Signed  to  the  right.  Dated  1880. 


/  //l  &-o 

(f  fa  U»  A 


FORTUNY 

(Mariano) 

No.  124 

Environs  de  Tanger 


An  ebanche,  or  the  laying-in  of  a  picture.  An  old,  uprooted  tree  is  to  the  left, 
and  to  the  right  are  suggestions  of  figures  about  a  hut.  In  the  distance,  to  one 
side,  is  a  stream  of  water,  and  in  the  middle  the  ruins  of  a  square,  low  building. 
The  work  is  painted  in  free,  vigorous  strokes,  each  one  of  which  is  full  of  sig¬ 
nificance,  and  demonstrates  the  artist’s  manner  of  approaching  an  important  com¬ 
position,  and  as  such  is  most  interesting. 

Height,  26^  inches  ;  length,  60  inches. 

Seal  at  the  left. 


VOLLON 


(Antoine) 


No.  125 


Monkey  and  Fruit 


This  large  and  highly  characteristic  example  of  the  great  modern  master  of 
still-life  painting  represents  a  table  covered  with  various  articles  in  great  confusion, 
the  result  of  the  caprice  and  mischievousness  of  a  monkey,  who  is  looking  from  the 
dim  background  at  the  havoc  he  has  wrought.  With  one  paw  he  is  toppling  over 
a  copper  vase  of  flowers,  and  with  the  other  a  glass  dish,  the  fruit  from  which  is 
strewn  on  a  large  plate.  A  big  red  book,  a  pipe,  and  some  sheets  of  music  are 
scattered  about. 


Height,  59  inches  ;  length,  45  inches. 


ROMAKO 


(Anton) 


No.  \2 6 


The  Huntress 


Portrait  of  a  woman  in  deep-red  doublet,  white  ruff  about  the  neck,  and 
wearing  a  large  hat  with  feathers,  and  carrying  on  her  shoulder  an  old  arquebus. 
The  face  has  a  piquant  expression,  and  is  painted  with  great  freedom  and  dash. 


Height,  36  inches  ;  width,  26^  inches. 


Signed  at  the  right. 


FORTUNY 

(Mariano) 


V 

No.  f27 

The  Alberca  Court,  Alhambra 

An  incomplete  but  marvelously  composed  interior  of  the  famous  court,  with 
the  basin  of  the  fountain  in  the  foreground,  the  limpid  water  reflecting  the  exquisite 
Moorish  architecture  and  the  long  graceful  columns.  An  entrance  opens  into 
another  court,  and  farther  on  is  seen,  vaguely,  a  garden.  To  the  right  are  some 
plants  with  great  leaves  and  an  orange  tree.  An  elaborate  Oriental  rug  hangs 
from  the  roof,  and  a  curtain  protects  the  left  of  the  court  from  the  heat  of  the 
sun.  The  possibilities  of  the  picture  seem  infinite,  and  in  its  unfinished  state 
it  gives  an  interesting  idea  of  the  artist’s  manner  of  procedure. 

Height,  48  inches  ;  length,  67  inches. 

Sea!  at  the  righ^. 


A“Y) 


.  w  I'M 


1  nJJl'l 


MADRAZO 


(Raymundo  de) 

0  a 


No.  128 

Pierrette 


A  full-length  figure  of  a  pretty  girl  in  fancy  dress,  as  Pierrette,  leaning  against 
a  wall  and  holding  a  black  mask  in  one  hand.  A  pink  cloak  jauntily  thrown  over 
her  shoulders,  relieved  by  a  blue  lining  and  ermine  border  ;  a  pink  sash  and  stock¬ 
ings,  a  white  petticoat  and  slippers,  make  a  costume  as  tasteful  in  arrangement  as  it 
is  piquant  in  effect.  The  painting  is  executed  with  a  freedom  and  spirit  quite  in 
harmony  with  the  subject,  and  the  picture  has  enjoyed  great  popularity  even  in  the 
reproduction  by  which,  it  is  best  known. 

Height,  78^  inches  ;  width,  37  inches. 

Signed  at  the  upper  right. 


fiL-lUt  /$> 


BRONZES,  FURNITURE,  AND 
OTHER  OBJECTS 


BRONZES,  FURNITURE,  ETC. 


TO  BE  SOLD  AT  CHICKERING  HALL,  FRIDAY  NIGHT,  FEBRUARY  4th 

AT  THE  CONCLUSION  OF  THE  SALE  OF  PAINTINGS 


No.  129 

STATUETTE  IN  BRONZE 


“The  Communist,”  by  d’Epinay.  Golden-brown  patina. 


Signed  and  inscribed. 


Height,  1 6  inches. 


No.  130 

PAIR  JAPANESE  BRONZE  VASES 

By  Sh5-kwa-ken.  Straight  ovoid  shape.  Wickerwork  design,  in  relief  casting, 
and  chased.  Various  insects  modeled  in  relief.  Side  handles  of  bamboo  pattern. 

Height,  13  inches. 

Signed  on  the  foot. 


No.  131 

BRONZE  GROUP 

“Horse  and  Cat,”  by  Fremiet.  Rich  brown  patina. 


Signed. 


Height,  6  inches ;  length,  8  inches. 


No.  132 


BRONZE  FIGURE 

• 

“The  Little  Fisherman,”  by  Gemito,  a  Neapolitan  sculptor,  who,  when 
young,  visited  Paris  at  Meissonier’s  invitation.  The  great  painter  thought  so  highly 
of  him  that  he  entertained  him  at  his  house  and  kept  him  as  a  guest  as  long  as 
he  could. 

Height,  10  inches  ;  diameter,  10  inches. 

Signed  proof,  tire  perdue. 


No.  133 

BRONZE  STATUETTE 

“Croquet,”  by  d'Epinay.  Brown  patina. 

Sigsed. 


Height,  \o]4  inches. 


No.  134 

PAIR  BRONZE  STATUETTES 


“The  Gladiators,”  by  Gerome.  Antique  green  patina. 


Signed. 


Height,  17  inches. 


No.  135 

JAPANESE  BRONZE  COVERED  VASE 

Wickerwork  design,  cast  and  chiseled.  Skillfully  wrought,  lifelike  rats  and 
mice  in  bold  relief.  Fine  patina. 


Height,  ii  inches;  diameter,  12  inches. 


No.  J  36 


BRONZE  STATUETTE 

“  Meissonier,”  by  d’Epinay.  Brown  patina  with  green  markings. 

Height,  1 1  inches. 

Signed. 


No.  137 

BRONZE  STATUETTE 


“Woman  of  the  First  Empire,”  by  Gemito. 


Signed  proof,  cire  perdue. 


Green  patina. 


Height,  2i  inches. 


No.  138 

BRONZE  EQUESTRIAN  FIGURE 


“Due  d’Orleans,”  by  Fremiet.  Brown  patina. 

Height,  19  inches;  width,  15  inches. 

Signed. 


No.  139 

BRONZE  BUST 

“The  Fisher  Boy,”  by  Gemito.  With  bronze  and  gilt  pedestal. 


Signed  proof,  cire  perdue. 


Height,  20  inches  ;  diameter,  1 1  inches. 


No.  140 


BRONZE  EQUESTRIAN  FIGURE 


“Gaston  de  Foix,”  by  Barye.  Fine  green  patina. 


Signed  proof  from  Barye’s  studio. 


Height,  14  inches  ;  length,  13  inches. 


No.  141 

BRONZE  ORNAMENTAL  PEDESTAL 


By  Barye.  Byzantine  design,  oval-shape,  green  patina,  black  marble  top. 


From  Barye's  studio. 


Height,  7  inches;  length,  18  inches. 


4 

No.  142 

BRONZE  GROUP 


base. 


“St.  George  and  the  Dragon,”  by  Fremiet.  Gilt  finish,  with  white  marble 


Signed. 


Height,  22  inches  ;  width,  15  inches. 


No.  143 

BRONZE  GROUP 

“Panther  Seizing  a  Stag,”  by  Barye.  Fine  green  patina. 


Signed  proof  from  Barye’s  studio. 


Height,  15  inches  ;  length,  22  inches. 


No.  144 


BRONZE  GROUP 


“Tiger  Seizing  a  Deer,”  by  Barye. 
Signed  proof  from  Barye’s  studio. 


Fine  green  patina. 


Height,  13  inches  ;  length,  23  inches. 


No.  145 

TERRA  COTTA  BUST 

“Paul  Baudry,”  by  Dubais. 

Signed. 


Life  size. 


No.  146 

TERRA  COTTA  BUST 

“Jean  Leon  Gerome,”  by  Carpeaux. 

Signed.  Dated  1873. 


Life  size. 


No.  147 

MANTEL  CLOCK 


Green  marble  case,  surmounted  by  group  of  “Fawn  and  Cub  Bears,”  sculp¬ 
tured  in  white  marble  by  Fremiet. 


Height,  20  inches  ;  length,  24  inches. 


Signed. 


No.  m 


PAIR  BRONZE  CANDELABRAS 

By  Cain.  Bamboo  tripod  design,  with  snail  feet  ;  mice  and  bird-nest  orna^ 
mentation  in  relief. 

Height,  20  inches. 

Signed. 


No.  149 

PAIR  ELABORATE  BRONZE  VASES 

Japanese.  Tall  ovoid  shape,  with  bold,  flaring  necks  ;  cast  and  chiseled  relief 
ornamentation  of  dragons,  birds,  and  clouds  ;  gold  inlays,  elephant-head  handles. 

Height,  including  stands,  37  inches  ;  diameter,  15  inches. 


No.  150 

PAIR  LARGE  CLOISONNE  VASES 

Old  Chinese.  Grand  bottle-shape.  Designs  of  lotus  plants  in  bloom,  and 
birds  in  green,  turquoise,  and  white  enamel  on  a  ground  of  Indian  red.  Fitted  as 
lamps. 

Height,  23  inches ;  diameter,  1 7  inches. 


No.  \5\ 

LOUIS  XVI.  CABINET 

Inlaid  with  various  woods  ;  elaborately  wrought  brass  mountings  ;  door  orna¬ 
mented  with  finely  decorated  Sevres  porcelain  medallions  ;  white  marble  top. 


Height,  45  inches  ;  length,  55  inches. 


No.  152 


LARGE  TABLE 

Inlaid  with  ivory  and  various  woods  ;  elaborately  carved  supports. 

Height,  32  inches  ;  length,  60  inches  ;  width,  48  inches. 

No.  153 

TWO  ELABORATE  ARMCHAIRS 

To  match  the  above-described  table. 


No.  154 

FOUR  HIGH-BACK  CHAIRS 


To  match  the  foregoing. 


No.  155 

EIGHTEENTH  CENTURY  DUTCH  SCREEN 

Carved  and  beautifully  lacquered  by  Japanese  artists.  Four  folds. 

Height,  75  inches;  length,  108  inches. 


THE  AMERICAN  ART  ASSOCIATION, 

Managers 


THOMAS  E.  KIRBY, 


Auctioneer 


List  of  Artists  Represented  and  Their  Works 


ARTIST 

ALMA-TADEMA,  L. 
ARCOS,  S. 
BAUDRY,  P.  J.  A. 


BELLANGE,  J.  L.  H. 
BENLLIURE,  J. 
BOLDINI,  G. 


BONNAT,  L.  J.  F. 

BONINGTON,  R.  P. 
BONVIN,  L. 

CHAM 
CLAYS,  P.  J. 


SUBJECT 

Roman  Youth  Reading  Horace 
Buffoon 
Parisina 

The  Wave  and  the  Pearl 
Fortune  and  the  Child 

Military  Sketches 

House  at  Naples 

River  Seine  at  Mont- Valerian 
The  Rest  at  the  Studio 
Clichy  Square,  Paris 
The  Beach  at  Etretat 
Pond  in  the  Forest  of  Fontainebleau  90 


River  Seine  at  Bougival  104 

Highway  of  Combes-la-Ville  115 

Neapolitan  Peasants  at  the  Farnese 
Palace  63 

View  of  Old  Paris  19 

Wild  Flowers  18 

f 

The  Commune  '  7 

On  the  Coast  8 

Dead  Calm  105 


CATALOGUE 

NUMBER 

0 

32 

49 

69 

103 

1 

81 

O 

21 

58 

82 


ARTIST  SUBJECT  CATALOGUE 

NUMBER 

COOSEMANS,  J.  T.  Summer  Landscape  50 

Winter  Landscape  59 

COROT,  J.  B.  C.  Ville  d’Avray  33 

Sunset  98 

DAUBIGNY,  C.  L.  Auvers  on  the  Oise  35 

DECAMPS,  A.  G.  Death  and  the  Woodman  ‘  97 

DUEZ,  E.  A.  The  Pont  Neuf,  Paris  67 

DUPRAY,  H.  L.  Waterloo  66 

FIRMAN-GIRARD  Parisian  Flower-Girl  53 

FORTUNY,  M.  Corpus  Christi  5 

Study  of  Flowers  10 

The  Arquebusier  16 

Arab  Fantasia  27 

Italian  Peasant  Girl  31 

Arab’s  Plead  40 

Cafe  of  the  Swallows  44 

One  of  the  “  King’s  Moors”  52 

The  Old  Peasant  56 

Court  of  justice,  Alhambra  61 

Courtyard,  Alhambra  68 

Arab  at  Prayer  74 

Gipsy  Caves,  Granada  80 

Breakfast  in  the  Old  Convent  Yard  85 
Rosa  Contadina  91 

Arab  Reclining  on  a  Divan  94 

The  Masquerade  102 

A  Street  in  Tangiers  106 

Meissonier’s  Portrait  1 1 1 

The  Choice  of  a  Model  114 

Dead  Girl  11 6 

The  Antiquary  1 19 

Arab  Butcher  12 1 


ARTIST 


SUBJECT 


CATALOGUE 

NUMBER 


FORTUNY,  M.  Environs  de  Tanger  124 

The  Alberca  Court,  Alhambra  127 

GAVARNI  Small  Talk  78 

GEROME,  J.  L.  Door  of  a  Mosque,  with  Heads  of 

Decapitated  Rebels  39 

GREGORY,  E.  J.  The  War  in  the  East  2 

HARP1GNIES,  H.  Autumn.  Castle  of  San  Angelo  6 

HEILBUTH,  F.  Monte  Pincio  11 

Lady  in  Yellow  62 

San  Giovanni  Laterano  79 

HERNANDEZ,  DON  G.  Head  of  a  Girl  4s 

HORSCHELT,  T.  An  Arabian  Horseman  42 

KNAUS,  L.  The  Landlord  71 

LAM1,  L.  E.  Off  for  the  Hunt  77 

LEIBL,  W.  Village  Politicians  1 1 8 

MACCAR1,  C.  Women  at  Raphael’s  Tomb  29 

MADRAZO,  R.  DE  Woman  and  Parrot  26 

Woman  and  Guitar  37 

Departure  from  the  Masked  Ball  120 
Pierrette  128 

MEISSON1ER,  J.  L.  E.  Italian  Armor,  Sixteenth  Century  73 

Armor  7  6 

The  End  of  a  Game  of  Cards  no 

The  Stirrup  Cup  112 

MENZEL,  A.  F.  E.  The  Stirrup  Cup  9 

MICHETTI,  F.  P.  A  Seaside  Idyl  48 

The  Turkey  Girl  60 

Spring  96 

MOORE,  H.  HUMPHREY  Banks  of  a  River  17 


ARTIST 

subject 

CATALOGUE 

NUMBER 

MORELLl,  D. 

Woman  Seated 

73 

MESZOLY,  G.  VON 

Farm  Scene 

23 

NITTIS,  G.  de 

Lowlands  Near  Naples 

36 

Route  from  Brindisi  to  Barletta 

107 

PARSONS,  A. 

English  Landscape 

25 

PETTENKOFEN,  A.  VON 

A  Market  in  Hungary 

83 

Hungarian  Peasant  Wagon 

89 

PILLE,  H. 

Lansquenets 

3 

PINWELL,  G.  j. 

Rural  Life,  England 

34 

RIBERA,  R. 

Cafe  Chantant 

M 

Cafe  Ambulant 

95 

RICO,  M. 

Venetian  Canal  with  View  of  Vero¬ 

nese’s  Tomb 

12 

Fisherman,  Seville 

20 

Boats  at  Poissy 

30 

A  Spanish  Garden 

43 

Pond  at  Meaux 

57 

The  Tarpeian  Rock,  Rome 

84 

The  Woodcutter 

87 

Seville 

P2 

Plaza  and  Street,  Toledo 

108 

Avenue  Josephine  Market,  Paris 

109 

Rienzi’s  House  in  Rome 

1 13 

ROMAKO,  A. 

The  Huntress 

126 

ROTHSCHILD, 

BARONESS  C.  de 

View  of’  Capri 

55 

ROUSSEAU,  T. 

The  Woodcutter,  Forest  of  Fon¬ 

tainebleau 

99 

ROYBET,  F.  V.  L. 

The  Kitchen  in  the  Castle 

65 

SANT,  J. 

Gipsy  Fortune  Teller 

70 

ARTIST 

SUBJECT 

CATALOGUE 

NUMBER 

SMALL,  W. 

A  Plowing  Match 

4 

STEVENS,  A. 

Alsace 

28 

Woman  and  Elephant 

O 

Remembrance  and  Regrets 

93 

STEWART,  J.  L. 

Summer 

123 

TROYON,  C. 

Valley  of  the  Toucques 

34 

Chickens  Feeding 

46 

The  Lane 

100 

Cow  Among  the  Cabbages 

1 17 

VAN  LERIUS,  J.  H.  F. 

An  Old  Woman’s  Head 

38 

VAN  MARCKE,  E. 

A  Normandy  Cow 

47 

Cows  in  the  Valley,  Toucques 

1 22 

VIERGE,  D. 

The  Bridle  Path,  Bois  de  Boulogne 

72 

VOLLON,  A. 

Crystal  Bowl  and  Fruit 

64 

Monkey  and  Fruit 

125 

WEBER,  0. 

Plowing 

22 

Landscape  and  Cows 

88 

ZAMACOIS,  E. 

Fortuny’s  Model 

24 

The  Infanta 

41 

The  Snowball 

86 

Checkmated 

101 

> 


